Mackie 1642-VLZ PRO User manual

1642-VLZ PRO
16-CHANNEL
MIC / LINE MIXER
OWNER’S MANUAL
1
MUTE
23
MUTEMUTE
4
MUTE
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
1
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
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C
P
R
E
MIC
2
BAL
UN-
BAL
LINE IN
INSERT
X
D
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P
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E
MIC
3
BAL
UN-
BAL
LINE IN
INSERT
X
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P
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E
MIC
4
BAL
UN-
BAL
LINE IN
INSERT
X
D
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E
MIC
5
BAL
UN-
BAL
LINE IN
INSERT
X
D
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M
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P
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E
MIC
6
BAL
UN-
BAL
LINE IN
INSERT
X
D
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M
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P
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MIC
7
BAL
UN-
BAL
LINE IN
INSERT
X
D
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M
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P
R
E
MIC
8
BAL
UN-
BAL
BAL
UN-
BAL
LINE IN 9
LINE IN 10
X
D
R
M
I
C
P
R
E
MIC
9-10
L
R
13
LEFT
LEFT
RIGHT
LEFT
RIGHT
MONOMONOMONO
14
RIGHT
BAL /
UNBAL
BAL /
UNBAL
15
LEFT
MONO
16
RIGHT
TAPE
IN
TAPE
OUT
BAL
UN-
BAL
LINE IN 11 LINE IN LINE IN
LINE IN 12
X
D
R
M
I
C
P
R
E
MIC
11-12
L
R
PHONES
A
B
LAMP
12 V
0.5A
1642-VLZPRO
16- CHANNEL MIC /LINE MIXER
WITH PREMIUM XDR
TM
MIC PREAMPLIFIERS
U
OO
+20
OO
+20
U
OO
+15
OO
+15
STEREO AUX RETURN
EFFECTS TO MONITORS
TO AUX
SEND 2
TO AUX
SEND 1
1
2
1
2
3
4
C-R / PHNS
ONLY
RETURNS
SOLO
MAIN MIX
TO SUBS
ASSIGN OPTIONS
1
– 2
3 – 4
U
OO
+20
U
OO
+20
U
OO
+10
U
OO
+10
AUX SEND
1
2
PWR
PHAN
SOLO
SOLO
1
2
2
3
TRIM
15
16
U
OO
+15
U
O
U
+15
U
OO
+15
AUX
PRE
U
+20
-20
1
TRIM
13
14
OO
U
+15
AUX
U
+20
-20
2
3
4
1
4
U
+15-15
EQ
U
OO
+15
U
OO
+15
U
OO
+15
PRE
U
+15-15
EQ
12k
HI
12k
HI
OO
+15
O
PAN PAN
HI
MID
3K
LOW
MID
800Hz
80Hz
LOW
LOW
MID
800Hz
80Hz
LOW
LR
U
+15
-15
LR
+15
-15
U
+15
-15
U
+15
-15
U
+15
-15
LOW
MID
800Hz
U
+15
-15
LOW
MID
800Hz
U
+15
-15
U
+15
-15
HI
MID
3K
SUBS 1 – 2
SUBS 3
– 4
MAIN MIX
CR SOURCE
TAPE
OO
MAX
SOLO
RUDE SOLO LIGHT
1
5
2
6
3
7
4
8
LEFT
RIGHT
LEFT
RIGHT
LEFT
RIGHT
LEFT
LEVEL
SET
MODE
(AFL)
LEVEL SET
NORMAL
(PFL)
RIGHT
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
TRACK
8
EFX
A
EFX
B
MAIN
MIX
CONTROL ROOM
MAX
OO
MAX
OO
PHONES
U
0 dB= 0 dBu
LEFT RIGHT
OO
+20
TAPE IN
TAPE TO
MAIN MIX
28
10
7
4
2
0
2
4
7
10
20
30
UU
5
MUTE
6
MUTE
7
MUTE
8
MUTE
9-10
MUTE
11 -12
MUTE
13 -14
MUTE
15 -16
MUTE
TRACK
7
TRACK
6
TRACK
5
TRACK
4
TRACK
3
TRACK
2
TRACK
1
REC
1
REC
2
U
TRIM
1
LOW CUT
75 Hz
18dB/OCT
+15dB -45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-15
FREQ
800
2k200
8k10 0
MID
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d B
V
TRIM
2
LOW CUT
75 Hz
18dB/OCT
+15dB -45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-15
FREQ
800
2k200
8k10 0
MID
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d B
V
TRIM
3
LOW CUT
75 Hz
18dB/OCT
+15dB -45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-15
FREQ
800
2k200
8k10 0
MID
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d B
V
TRIM
4
LOW CUT
75 Hz
18dB/OCT
+15dB -45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-15
FREQ
800
2k200
8k10 0
MID
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
5
LOW CUT
75 Hz
18dB/OCT
+15dB -45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-15
FREQ
800
2k200
8k10 0
MID
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d B
V
TRIM
6
LOW CUT
75 Hz
18dB/OCT
+15dB -45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-15
FREQ
800
2k200
8k10 0
MID
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
7
LOW CUT
75 Hz
18dB/OCT
+15dB -45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-15
FREQ
800
2k200
8k10 0
MID
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
8
LOW CUT
75 Hz
18dB/OCT
+15dB -45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-15
FREQ
800
2k200
8k10 0
MID
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
9
10
LOW CUT
75 Hz
18dB/OCT
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-15
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
TRIM
11
12
LOW CUT
75 Hz
18dB/OCT
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-15
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
L
R
MONO
(BAL/UNBAL)
ON ON
POWER PHANTOM
120 VAC 50/60 Hz 40W
1A/250V SLO-BLO
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:
AUX RETURN
(BAL/UNBAL)
DIRECT OUTS
(BAL/UNBAL)
SUB OUTS
(BAL/UNBAL)
C - R OUTS
(BAL/UNBAL)
MAIN
INSERT
TIP OUT TO EFFECTS DEVICE
RING RETURN FROM EFFECTS
STEREO
PLUG
DIRECT OUT WITH NO SIGNAL
INTERRUPTION TO MASTER
DIRECT OUT WITH SIGNAL
INTERRUPTION TO MASTER
FOR USE AS AN EFFECTS LOOP
(TIP= SEND, RING = RETURN)
INSERT ALL THE WAY IN TO
THE "SECOND CLICK" INSERT ONLY INTO THE
"FIRST CLICK"
MONO PLUG MONO PLUG
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC •
WOODINVILLE WA • 98072 • USA • MADE IN USA • PATENTS PENDING •
COPYRIGHT ©1998• THE FOLLOWING ARE REGISTERED TRADEMARKS OF
MACKIE DESIGN INC.: "MACKIE", "XDR", AND THE "RUNNING MAN" FIGURE •
11
8
4321 7654321
5
2
6
3
7
4 234
8
L
R
L
R
L
R
L
R
MAIN
(BAL/UNBAL)
AUX SENDS
(BAL/UNBAL)
MAIN OUTS
L
R
L
R
L
R
LEVEL
1642 - VLZPRO
16- CHANNEL MIC/ LINE MI XER
WITH PREMIUM XDR
TM
MIC PREAMPLIFIERS
XDR
TM
EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
U
OO
+15
SERIAL NUMBER MANUFACTURING DATE
REPLACEWITH THE SAMETYPE FUSEANDRATING.
DISCONNECTSUPPLYCORDBEFORE CHANGING FUSE UTILISEUN FUSIBLEDERECHANGE DE MÊMETYPE.
DEBRANCHERAVANTDEREMPLACER LE FUSIBLE
WARNING: TOREDUCETHERISK OF FIRE OR ELECTRIC SHOCK,DO NOT
EXPOSETHISEQUIPMENTTO RAIN OR MOISTURE. DO NOTREMOVE COVER.
NOUSERSERVICEABLE PARTS INSIDE. REFER SERVICING TOQUALIFIED PERSONNEL.
AVIS: RISQUEDECHOC ELECTRIQUE — NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION
(MONO)(MONO)(MONO)(MONO)
MIC
+4

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 PAS 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.
SAFETY INSTRUCTIONS
1. ReadInstructions—Allthesafetyandoperation
instructionsshouldbereadbeforethisMackieproductis
operated.
2. RetainInstructions—Thesafetyandoperating
instructionsshouldbekeptforfuturereference.
3. HeedWarnings—Allwarningsonthis Mackie productand
intheseoperatinginstructionsshouldbefollowed.
4. FollowInstructions—Alloperatingandotherinstructions
shouldbefollowed.
5. WaterandMoisture—ThisMackieproductshouldnotbe
usednearwater–forexample,nearabathtub,washbowl,
kitchensink,laundrytub,inawetbasement,neara
swimmingpool,swamporsalivatingSt.Bernarddog,etc.
6. Heat—ThisMackieproductshouldbesituatedaway
fromheatsourcessuchasradiators,orotherdeviceswhich
produceheat.
7. PowerSources—ThisMackieproductshouldbe
connectedtoapowersupplyonlyofthetypedescribedin
theseoperationinstructionsorasmarkedonthisMackie
product.
10. Damage Requiring Service — This Mackie product
shouldbeservicedonlybyqualifiedservicepersonnelwhen:
A. Thepower-supplycordortheplughasbeen
damaged;or
B. Objectshavefallen,orliquidhasspilledinto
thisMackieproduct;or
C. ThisMackieproducthasbeenexposedtorain;
or
D. ThisMackieproductdoesnotappeartooperate
normallyorexhibitsamarkedchangein
performance;or
E. ThisMackieproducthasbeendropped,orits
chassisdamaged.
11. Servicing — The user should not attempt to service this
Mackieproductbeyondthosemeansdescribedinthis
operatingmanual.Allotherservicingshouldbereferredtothe
MackieServiceDepartment.
12. To prevent electric shock, do not use this polarized plug
withanextensioncord,receptacleorotheroutletunlessthe
bladescanbefullyinsertedtopreventbladeexposure.
Pourpréevenirleschocsélectriquesnepasutilisercettefiche
polariseéavecunprolongateur,unprisedecourantouune
autresortiedecourant,saufsileslamespeuventêtreinsérées
àfondsanslaisseraucunepariieàdécouvert.
13. GroundingorPolarization—Precautionsshouldbe
takensothatthegroundingorpolarizationmeansofthis
Mackieproductisnotdefeated.
14. This apparatus does not exceed the Class A/Class B
(whicheverisapplicable)limitsforradionoiseemissionsfrom
digitalapparatusassetoutintheradiointerference
regulationsoftheCanadianDepartmentofCommunications.
ATTENTION—Leprésentappareilnumériquen’émetpasde
bruitsradioélectriquesdépassantlaslimitesapplicablesaux
appareilsnumériquesdeclassA/declassB(selonlecas)
prescritesdanslerèglementsurlebrouillageradioélectrique
édictéparlesministeredescommunicationsduCanada.
15. Topreventhazardordamage,ensurethatonly
microphone cables and microphones designed to IEC 268-15A
are connected.
Duration Per Day Sound Level dBA, Typical
In Hours Slow Response Example
8 90 Duoinsmallclub
692
4 95 SubwayTrain
397
2 100 Veryloudclassicalmusic
1.5 102
1 105 PatricescreamingatRonaboutdeadlines
0.5 110
0.25orless 115 Loudestpartsatarockconcert
WARNING —Toreduce therisk of fire or electricshock,
donot expose this appliance torain ormoisture.
8. PowerCordProtection—Powersupply
cordsshouldberoutedsothattheyarenot
likelytobewalkeduponorpinchedbyitems
placeduponoragainstthem,paying
particularattentiontocordsatplugs,
conveniencereceptacles,andthepointwhere
theyexitthisMackieproduct.
9. ObjectandLiquidEntry—Careshouldbe
takensothatobjectsdonotfallintoand
liquidsarenotspilledintotheinsideofthis
Mackie product.

3
We realize that you must have a powerful
hankerin’ to try out your new 1642-VLZ
PRO.
Or you might be one of those people who
never readsmanuals. Either way, 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.
Other Nuggets of Wisdom
Foroptimumsonicperformance,thechannel
fadersandthe
MAIN MIX fader should be set
nearthe“
U ”(unitygain)markings.
Always turn down the MAIN MIX fader and
CONTROL ROOM and PHONES knobs before
making connections to your 1642-VLZPRO.
If you shut down your equipment, turn off
youramplifiersfirst.Whenpoweringup,turn
onyouramplifierslast.
Save the shipping box! You may need it
someday, and you don’t want to have to pay for
anotherone.
INSTANT MIXING
Here’s how to get going
rightaway,assumingyouown
amicrophoneandakeyboard:
1. Plugyourmicrophoneinto Channel 1’s
MIC input.
2. Turn on the 1642-VLZ
PRO.
3. PerformtheLevel-Setting Procedure .
4. Connectcordsfromthe MAIN OUT jacks
toyouramplifier.
5. Hookupspeakerstotheampandturniton.
6. Setchannel1’sfadertothe “U”mark.
7. Engage(pushin)Channel1’s
L/R switch.
8. Setthe
MAIN MIX faderone-quarterof
thewayup.
9. Singlikeacanary!
10. Plug your keyboard intochannels3and4.
11. Turnchannel3’s
PAN knobfullyleftand
channel4’s
PAN knobfullyright.
12. Set thosefaderstothe“U”mark.
13.
PerformtheLevel-Setting Procedure .
14.
Engagethe L/R switchonthesechannels.
15. Playlikea madmanandsinglikeacanary!
It’syourfirst mix!
READ THIS PAGE!!!
Please write your serial number here for
future reference (i.e. insurance claims,
tech support, return authorization, etc.):
Part No. 820-200-00 Rev. A 08/99
©1999 Mackie Designs Inc. All Rights Reserved.
Printed in the U.S.A.
LEVEL-SETTING PROCEDURE
Messagetoseasonedpros:doNOTsetlevels
usingtheold“Turnthetrimupuntiltheclip
lightcomeson,thenbackoffahair”trick.Whena
MackieDesignsmixercliplightcomeson,you
reallyareabouttoclip.
Thisprocedurereallyworks—itassures
lownoiseandhighheadroom.Pleasereadon.
It’snotevennecessarytohearwhatyou’redo-
ingtosetoptimallevels.Butifyou’dliketo:Plug
headphonesintothe
PHONES outputjack,
thensetthe
PHONES knob about one-quar-
ter of the way up.
Thefollowingstepsmustbeperformedone
channel at a time:
1. Turn the
TRIM , AUX sendandfader
controlsfullydown.
2. Besurethe
1–2 , 3–4 and L/R channel
assignmentswitchesarealldisengaged.
3. Setthe
EQ knobsatthecenterdetents.
4. Connectthesignalsourcetothe
MIC or
LINE channelinput.
5. Engage(pushin)thechannel’s
SOLO
switch.
6. Pushinthe
MODE switchintheoutput
section(
LEVELSET(PFL) mode)—the
LEVELSET LEDwilllight.
7. Playsomethingintotheselectedinput,at
real-worldlevels.
8. Adjustthe
TRIM controlsothatthe
displayonthemeterstaysaround“0.”
(Onlytheleftmeterisactiveinthe
Level-SettingProcedure.)
9. Ifyou’dliketoapplysome
EQ ,doso
nowandreturntothepreviousstep.
10. Disengagethatchannel’s
SOLO switch.
11. Repeat for each channel.
Purchased at:
Date of purchase:

4
1
MUTE
23
MUTEMUTE
4
MUTE
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
1
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
2
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
3
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
4
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
5
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
6
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
7
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
8
BAL
UN-
BAL
BAL
UN-
BAL
LINE IN 9
LINE IN 10
X
D
R
M
I
C
P
R
E
MIC
9-10
L
R
13
LEFT
LEFT
RIGHT
LEFT
RIGHT
MONO
14
RIGHT
BAL/
UNBAL
BAL/
UNBAL
15
LEFT
MONO
16
RIGHT
TAPE
IN
TAPE
OUT
BAL
UN-
BAL
LINE IN 11 LINE IN LINE IN
LINE IN 12
X
D
R
M
I
C
P
R
E
MIC
11-12
L
R
PHONES
A
B
LAMP
12V
0.5A
1642-VLZ PRO
16-CH ANNEL MIC/ LINE MIX ER
WITH PREMIUM XDRTM MIC PREAMPLIFIERS
U
OO
+20
OO
+20
U
OO
+15
OO
+15
STEREO AUX RETURN
EFFECTS TO MONITORS
TO AUX
SEND 2
TO AUX
SEND 1
1
2
1
2
3
4
C-R/ PHNS
ONLY
RETURNS
SOLO
MAIN MIX
TO SUBS
ASSIGN OPTIONS
1
– 2
3
– 4
U
OO
+20
U
OO
+20
U
OO
+10
U
OO
+10
AUX SEND
1
2
PWR
PHAN
SOLO
SOLO
1
2
2
3
TRIM
15
16
U
OO
+15
U
O
U
+15
U
OO
+15
AUX
PRE
U
+20
-20
1
TRIM
13
14
OO
U
+15
AUX
U
+20
-20
2
3
4
1
4
U
+15-15
EQ
U
OO
+15
U
OO
+15
U
OO
+15
PRE
U
+15-15
EQ
12k
HI
12k
HI
OO
+15
O
PAN PAN
HI
MID
3K
LOW
MID
800Hz
80Hz
LOW
LOW
MID
800Hz
80Hz
LOW
LR
U
+15
-15
LR
+15
-
15
U
+15
-
15
U
+15
-
15
U
+15
-
15
LOW
MID
800Hz
U
+15
-
15
LOW
MID
800Hz
U
+15
-
15
EQ
U
+15
-15
HI
MID
3K
SUBS 1 – 2
SUBS 3
– 4
MAIN MIX
SOURCE
TAPE
OO
MAX
SOLO
RUDE SOLO LIGHT
1
5
2
6
3
7
4
8
LEFT
RIGHT
LEFT
RIGHT
LEFT
RIGHT
LEFT
LEVEL
SET
MODE
(AFL)
LEVEL SET
NORMAL
(PFL)
RIGHT
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10
TRACK
8
EFX
A
EFX
B
MAIN
MIX
CONTROL ROOM
MAX
OO
MAX
OO
PHONES
U
0 dB=0 dBu
LEFT RIGHT
OO
+20
TAPE IN
TAPE TO
MAIN MIX
28
10
7
4
2
0
2
4
7
10
20
30
UU
5
MUTE
6
MUTE
7
MUTE
8
MUTE
9-10
MUTE
11 -1 2
MUTE
13 -14
MUTE
15 -16
MUTE
TRACK
7
TRACK
6
TRACK
5
TRACK
4
TRACK
3
TRACK
2
TRACK
1
U
TRIM
1
LOW CUT
75 Hz
18dB/OCT
+15dB-45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-
15
FREQ
800
2k200
8k100
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
2
LOW CUT
75 Hz
18dB/OCT
+15dB-45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-
15
FREQ
800
2k200
8k100
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
3
LOW CUT
75 Hz
18dB/OCT
+15dB-45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-
15
FREQ
800
2k200
8k100
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
4
LOW CUT
75 Hz
18dB/OCT
+15dB-45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-
15
FREQ
800
2k200
8k100
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
5
LOW CUT
75 Hz
18dB/OCT
+15dB-45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-
15
FREQ
800
2k200
8k100
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
6
LOW CUT
75 Hz
18dB/OCT
+15dB-45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-
15
FREQ
800
2k200
8k100
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
7
LOW CUT
75 Hz
18dB/OCT
+15dB-45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-
15
FREQ
800
2k200
8k100
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
8
LOW CUT
75 Hz
18dB/OCT
+15dB-45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-
15
FREQ
800
2k200
8k100
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
9
10
LOW CUT
75 Hz
18dB/OCT
+15dB-45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-
15
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
TRIM
11
12
LOW CUT
75 Hz
18dB/OCT
+15dB-45dB
U
U
OO
+15
OO
U
+15
U
OO
+15
AUX
1
PRE
U
+15
-
15
HI
MID
3K
PAN
LR
U
+15
-15
80Hz
LOW
060
2
3
U
+15-15
EQ
U
OO
+15
4
12k
HI
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
M
I
C
G
A
I
N
-
1
0
d
B
V
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
dB
30
20
10
OO
40
50
5
5
U
60
10
SOLO
1
- 2
3
- 4
L/R
OL
-
20
Thankyouforchoosing a MackieDesigns
professionalcompactmixer. The1642-VLZPRO
isequippedwithournewprecision-engineered
XDRTM Extended Dynamic Rangepremiummic
preampsfeaturing:
• Full gain range from 0 to 60dB
• +22dBulinesignalhandlingcapability
• 130dBdynamicrange
• Distortionlessthan0.0007%,20Hzto20kHz
• Bullet-proofRFrejectionusingDCpulse
transformercircuitry
• MadeinWoodinville,Washington,USA
Now that you have your 1642-VLZ PRO, find
out how to get the most from it. That’s where
this manual comes in.
HOW TO USE THIS MANUAL
Sincemanyofyoufolkswillwantto hook up
your1642-VLZ
PROimmediately, the first pages
youwillencounterafterthetableof contents are
theeverpopularhookupdiagrams.Theseshow
typicalmixersetupsforRecord/Mixdown,Video,
Stereo PAand a fixed installation.After this sec-
tionisadetailedtouroftheentiremixer.
Everyfeatureofthe1642-VLZ
PROwillbe
described“geographically;”inotherwords,in
orderof whereit isphysicallyplacedonthe
mixer’stopor rearpanel.Thesedescriptionsare
dividedintothe firstthreemanual chapters,just
asyourmixer isorganizedinto threedistinct
zones:
1. PATCHBAY: The zillion jacks along on the
top edge and therear panel
2. CHANNEL STRIP: The channel strips on
the left.
3. OUTPUT SECTION: The output section on
the right.
Whenever a specific 1642-VLZ
PRO compo-
nent is mentioned, it’ll be in all capital letters
sans-serif type. That can help you find refer-
ences to specific controls much faster, without
slowing you down as you read normally. For ex-
ample: The quick brown fader jumped over the
RUDE SOLO LIGHT .
Throughout these chapters you’ll find illus-
trations, with each feature numbered. If you’re
curious about a feature, simply locate it on the
appropriate illustration, note the number at-
tached to it, and find that number in the nearby
paragraphs or refer to the table of contents.
You’llalsofindcross-referencestothesenum-
beredfeatureswithin aparagraph. Forinstance,if
yousee“Towireyourowncables: ,”simplyfind
that number in the manual and you’ve foundyour
answer. (These are not page numbers.)
You’ll also notice feature numbers just float-
ing in space, like this . These numbers
direct you to relevant information.
This icon marks information
that is critically important or
unique to the 1642-VLZ
PRO.
For your own good, read them
and remember them. They will
be on the final test.
This icon will lead you to in-
depth explanations of features
and practical tips. While not
mandatory, they’ll have some
valuable information.
A PLUG FOR THE CONNECTORS SECTION
TheAppendixgivesdetailsabout connec-
tors:XLRconnectors, balancedconnectors,
unbalancedconnectorsand specialhybrid
connectors.
RACK MOUNTING
Optionalrackearsare available which allow
the1642-VLZPROtobefittedinastandard19"
rack.Thiswilltakeupaheightof12rack
spaces(includingenoughroomtomakethe
connections).ContactyourMackie dealer for
moredetails.
INTRODUCTION
PATCHBAY
CHANNEL STRIPS
OUTPUT
SECTION

5
CONTENTS
OUTPUT SECTION DESCRIPTION ............................ 22
MAIN MIX FADER .......................................... 22
VLZ MIX ARCHITECTURE ................................ 22
SUB FADERS................................................... 22
ASSIGN TO MAIN MIX ................................... 22
TAPE IN (LEVEL)............................................ 22
TAPE TO MAIN MIX........................................ 23
CR SOURCE ................................................... 23
CONTROL ROOM AND PHONES CONTROLS . 23
MODE (NORMAL (AFL)/LEVEL SET (PFL)).........24
LEVEL SET LED ................................................ 24
SOLO (LEVEL) ................................................. 24
RUDE SOLO LIGHT.......................................... 24
METERS ......................................................... 25
AUX DISCUSSION ......................................... 25
AUX SEND (MASTER) ..................................... 25
AUX SEND SOLO ............................................ 26
AUX RETURNS (LEVEL) ................................... 26
EFFECTS TO MONITORS ................................. 26
MAIN MIX TO SUBS (AUX RET 3) ................... 26
1-2/3-4 (AUX RET 3) .................................... 26
C-R/PHNS ONLY (AUX RET 4)........................ 27
RETURNS SOLO.............................................. 27
1642-VLZPRO BLOCK DIAGRAM ............................... 28
GAIN STRUCTURE DIAGRAM ....................................... 29
SPECIFICATIONS .......................................................... 30
SERVICE INFO .............................................................. 31
APPENDIX : Connections .............................................. 32
LEVEL-SETTING PROCEDURE.................................... 3
INSTANT MIXING.................................................... 3
HOOKUP DIAGRAMS .............................................. 6
PATCHBAY DESCRIPTION ......................................... 10
E-Z INTERFACING ......................................... 10
MIC/LINE INPUT FLEXIBILITY..........................10
MIC INPUTS ................................................... 10
PHANTOM POWER DISCUSSION................... 10
LINE INPUTS .................................................. 11
TRIM ............................................................. 11
INSERT........................................................... 11
DIRECT OUT ................................................... 12
RECORDING.................................................. 12
AUX SEND OUTPUTS ...................................... 12
EFFECTS: SERIAL OR PARALLEL? ..................... 13
AUX RETURN INPUTS..................................... 13
SUB OUTS ...................................................... 13
C-R OUTS (CONTROL ROOM OUTPUTS) ...... 14
PHONES OUTPUT ........................................... 14
TAPE OUTPUT ................................................ 14
TAPE INPUT ................................................... 14
MAIN INSERT ................................................. 14
MAIN OUTS ................................................... 14
MONO OUTPUT ............................................. 15
MONO LEVEL ................................................. 15
POWER CONNECTION .................................... 15
FUSE .............................................................. 15
POWER SWITCH ............................................ 15
POWER LED ................................................... 16
PHANTOM SWITCH........................................ 16
PHANTOM LED............................................... 16
BNC LAMP SOCKET ........................................ 16
CHANNEL STRIP DESCRIPTION .............................. 17
“U” LIKE UNITYGAIN.................................. 17
FADER ........................................................... 17
ASSIGN (1-2, 3-4, L/R)................................. 17
SOLO ............................................................. 18
–20 (SOLO) LED ............................................ 18
OL (MUTE) LED .............................................. 18
MUTE............................................................. 19
PAN ............................................................... 19
3-BAND MID-SWEEP EQ................................. 19
4-BAND FIXED FREQUENCY EQ..................... 20
LOW CUT ....................................................... 20
AUX 1, 2, 3, 4 .............................................. 21
PRE ............................................................... 21

6
1642-VLZPRO 8-Track Tracking
HOOKUP DIAGRAMS
EFXA
StereoCompressor
EFXB
CHANNEL INSERTS
CHANNEL INPUTS
AUX SENDS
BAL/UNBAL
TAPE
OUT TAPE
IN
PHONES
OUT SUB OUTS
BAL/UNBAL
C/R OUT
BAL/UNBAL
MAIN
INSERT
AUX RETURNS DIRECT OUT
BAL/UNBAL
MONO
MAIN OUT
BAL/UNBAL
LR L R
Headphones
8TrackRecorder Out
In
FromMics,Keys,
Drummachines
etc.
1
123459-1011-12
2
3
4
StereoProcessor
PoweredMonitors
CassetteRecorder
“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)
This is an insert plug, used to send and receive
on the same TRS connector
(See the diagram below which
shows how to wire Insert plugs)

7
1642-VLZPRO Video setup
CHANNEL INSERTS
CHANNEL INPUTS
AUX SENDS
BAL/UNBAL
TAPE
OUT TAPE
IN
PHONES
OUT SUB OUTS
BAL/UNBAL
C/R OUT
BAL/UNBAL
MAIN
INSERT
AUX RETURNS DIRECT OUT
BAL/UNBAL
MONO
MAIN OUT
BAL/UNBAL
LR L R
Computer
with Audio Card
in
Multi-VCR
Video Switcher
Headphones
Powered
Monitors
CDPlayer
Video
Decks
Video
Master
Keyboard StereoCompressor

8
1642-VLZPRO Stereo P.A.
CHANNEL INSERTS
CHANNEL INPUTS
AUX SENDS
BAL/UNBAL
AUX RETURNS DIRECT OUT
BAL/UNBAL
MONO
MAIN OUT
BAL/UNBAL
LR L R
Turntable
Active
PASpeaker/
Subwoofer
combination
(Pole-mounted
SRM450sand
SRS1500active
Subwoofers
pictured)
Guitar
Guitar
Mic1-5
Processor
Processor
Drum
Machine
MonoEQs,M-1400iAmps,
and(C300)PassiveStageMonitors
Keyboard
Bass
MonoEffects
StereoEffects
Phonopreamp
Additional
stereosource
StereoCompressors
TAPE
OUT TAPE
IN
PHONES
OUT
SUB OUTS
C/R OUT
BAL/UNBAL MAIN
INSERT
Headphones
DigitalMultitrack
Recorder
StereoProcessor
CDPlayer

9
1642-VLZPRO Church Installation
CHANNEL INSERTS
CHANNEL INPUTS
AUX SENDS
BAL/UNBAL
TAPE
OUT TAPE
IN
PHONES
OUT SUB OUTS
BAL/UNBAL C/R OUT
BAL/UNBAL MAIN
INSERT
AUX RETURNS DIRECT OUT
BAL/UNBAL
MONO
MAIN OUT
BAL/UNBAL
LR L R
Headphones
MultitrackRecorder
DirectBox
Mic1-5
Guitar
StereoProcessor
Processor
AssistiveListening
Transmitter
70VoltLineAmp
SRM450sorother
poweredmonitors
HR824sorother
poweredmonitors Monitorsondistributedsystemthroughoutbuilding
DrumMachine
MonoEQs,M-1400iAmps,
and(C300)PassiveStageMonitors
CassetteRecorder
CDPlayer
VCR
Keyboard

10
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
1
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
2
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
3
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
4
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
5
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
6
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
7
BAL
UN-
BAL
LINE IN
INSERT
X
D
R
M
I
C
P
R
E
MIC
8
BAL
UN-
BAL
BAL
UN-
BAL
LINE IN 9
LINE IN 10
X
D
R
M
I
C
P
R
E
MIC
9-10
L
R
13
LEFT
LEFT
RIGHT
LEFT
RIGHT
MONOMONOMONO
14
RIGHT
BAL /
UNBAL
BAL /
UNBAL
15
LEFT
MONO
16
RIGHT
TAPE
IN
TAPE
OUT
BAL
UN-
BAL
LINE IN 11 LINE IN LINE IN
LINE IN 12
X
D
R
M
I
C
P
R
E
MIC
11-12
L
R
PHONES
A
B
LAMP
12 V
0.5A
1642-VLZPRO
16-CHANNEL MIC / LINE MIXER
WITH PREMIUM XDRTM MIC PREAMPLIFIERS
At the risk of stating the obvious, this is
where you plug everything in: microphones,
line-level instruments and effects, and the ulti-
mate destination for your sound: a tape
recorder, PA system, etc. Many of the features
described in this section are on top of the
mixer, but some are on the rear panel.
E-Z INTERFACING
Concerned about levels,
balancing, impedances, po-
larity, or other interface
goblins? Don’t be. On your
1642-VLZ
PRO, you can patch anything almost
anywhere, with nary a care. Here’s why:
• Every input and output is balanced
(except inserts, phones and RCA jacks).
• Every input and output will also accept
unbalanced lines (except XLR jacks).
• Every input is designed to accept virtually
any output impedance.
• The main left and right mix outputs can
deliver 28dBu into as low as a 600 ohm load.
• All the other outputs can deliver 22dBu
into as low as a 600 ohm load.
• Alltheoutputsareinphasewiththeinputs.
Allweaskis thatyouperformtheLevel-Setting
Procedure everytimeyoupatch inanew
soundsource.Sostop worryingandstartmixing!
MIC AND LINE INPUT FLEXIBILITY
Channels 1-8 are mono channels with MIC
and LINE inputs, featuring our new XDR Ex-
tendedDynamicRangemicpreamp circuitry.
Channels 9-10 and 11-12 are stereo pairs with
left and right
LINE inputs and a single MIC in-
putfeedingeachpair. Channels 13-14 and
15-16 are stereo pairs with
LINE inputs only.
MIC INPUTS
We use phantom-powered, balanced micro-
phone inputs just like the big studio mega-
consoles, for exactly the same reason: This
kind of circuit is excellent at rejecting hum
PATCHBAY DESCRIPTION
and noise. You can plug in almost any kind of
mic that has a standard XLR-type male mic
connector. Always be sure to perform the
Level-Setting Procedure . To learn how sig-
nals are routed from these inputs: . If you
wire your own, connect them like this:
2
2
31
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
SHIELD
COLD
HOT
3
2
1
Pin 1 = ground or shield
Pin 2 = positive (+ or hot)
Pin 3 = negative (– or cold)
Professional ribbon, dynamic, and con-
denser mics will all sound excellent through
these inputs. The 1642-VLZ
PRO’s mic inputs
will handle almost any kind of mic level you
can toss at them, without overloading.
A WORD ABOUT PHANTOM POWER
Mostcondensermicsrequirephantom power,
wherethemixersends low-currentDCvoltage to
themic’s electronics through the same wires
that carry audio. The 1642-VLZ
PRO’s phantom
power is globally controlled by the
PHANTOM
switch on the rear panel .
Semipro condenser mics often have batter-
ies to accomplish the same thing. “Phantom”
owes its name to an ability to be “unseen” by
dynamic mics (Shure
®
SM57/SM58, for in-
stance) that don’t need external power and
aren’t affected by it anyway.
Unless you know for
certain it is safe to do so,
never plug single-ended
(unbalanced) micro-
phones, instruments or
electronic devices into the
MIC input jacks if
the phantom power is on.