Mackie CR1604-VLZ User manual

CR1604-VLZ
MIC / LINE MIXER
OWNER’S MANUAL
AUX
SENDS
STEREO AUX RETURNS
EFFECTS TO
MONITORS
TO AUX
SEND 2
TO AUX
SEND 1
1
2
PWR
PHAN
SOLO
SOLO
1
2
1
2
3
4
1
2
C-R / PHNS
ONLY
RETURNS
SOLO
MAIN MIX
TO SUBS
ASSIGN OPTIONS
1–2
3–4
U
OO
+20
U
OO
+20
U
OO
+15
U
OO
+15
U
OO
+20
U
OO
+20
U
OO
+10
U
OO
+10
PAN
AUX
3
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
EQ
5
46
5/6
SHIFT
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
TRIM
12 34 5 6 7 8 9 10 11 12 13 14 15 16
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ EQ
5
46
5/6
SHIFT
PAN
AUX
35
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
LEFT RIGHT
PHONES
3
EQ
5
46
5/6
SHIFT
TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM
LAMP
12V
0.5A
TAPE IN
SOLO
RUDE
SOLO
LIGHT
C-R/ PHONES
SUBS 3–4
SUBS 1–2
MAIN MIX
SOURCE
TAPE TAPE TO
MAIN MIX
MAIN
L-R MIX
RIGHT
1234
LEFT
RIGHT
LEFT
RIGHT
LEFT
RIGHT
LEFT
28
CLIP
10
7
4
2
2
0
4
7
10
20
30
ASSIGN TO MAIN MIX
LEVEL
SET
TRACK
8
TRACK
7
TRACK
6
TRACK
5
TRACK
4
TRACK
3
TRACK
2
TRACK
1
TM
MODE
(AFL)
LEVEL SET
NORMAL
(PFL)
16151413121110987654321
U
OO
+15
U
OO
+15
U
OO
+15
CR1604-VLZ
16 -CHANNEL MIC/LINE MIXER
CR1604-VLZ
16 -CHANNEL MIC/LINE MIXER
U
+15-15
U
+15-15
800
2k200
8k
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k
100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k
100
+15-15
800
2k200
8k
100
+15-15
800
2k200
8k
100
+15-15
800
2k200
8k
100
+15-15
800
2k200
8k100
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
1
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
2
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
3
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
4
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
5
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
6
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
7
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
8
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
9
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
10
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
11
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
12
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID MID MID MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
13
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
14
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
15
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
U
OO
+15
U
OO
+20
OO
OO
MAX
16
MUTE
0 dB=0 dBu
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR
MAX
dB
30
20
10
OO
40
50
5
5
U
60
10
OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
dB
30
20
10
OO
40
50
5
5
U
60
10
PATENT PENDING
4321
INSERT INSERT INSERT
LINE
INSERT
MIC 4 MIC 3 MIC 2 MIC 1
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINE
OO
+6
PHANTOM
POWER
120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
16 15 14 13 12 11 10 9 8 7 6 5
MIC 16
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5
SUB OUTSC-R OUTSMAIN INSERT TAPE TAPE
MAIN OUT AUX SEND DIRECT OUT
AUX RETURN
3
R
L
MONO
RRR
R
L
R
L
R
L
R
L
LLL
1
42
5
1234 31
642
753
864
1
2
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
INPUT OUTPUT
(MONO)
R
L
(MONO)(MONO)(MONO)
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINELINELINELINE
LINELINELINELINELINELINE
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:

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—Thesafetyandoperatinginstruc-
tionsshouldbekeptforfuturereference.
3. HeedWarnings—Allwarnings onthisMackieproductand
intheseoperatinginstructionsshould befollowed.
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.
8. PowerCordProtection—Powersupplycordsshouldbe
routedsothattheyarenotlikelytobewalkeduponor
pinchedbyitemsplaceduponoragainstthem,paying
particularattentiontocordsatplugs,conveniencereceptacles,
andthepointwheretheyexitthisMackieproduct.
9. ObjectandLiquidEntry—Careshouldbetakensothat
objectsdonotfallintoandliquidsarenotspilledintothe
insideofthisMackieproduct.
10. Damage Requiring Service — This Mackie product should
beservicedonlybyqualifiedservicepersonnelwhen:
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—Precautionsshouldbetaken
sothatthegroundingorpolarizationmeansofthisMackie
productisnotdefeated.
14. ThisapparatusdoesnotexceedtheClassA/ClassB
(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.
WARNING—Toreducetheriskoffireorelectric shock, do
notexposethisappliancetorainormoisture.

3
We realize that you must have a powerful
hankerin’ to try out your new CR1604-VLZ.
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
For optimum sonic performance, the channel
fadersandthe
MAIN L-R MIX fadershould be
set near the “
U ” (unity gain) markings.
Alwaysturnthe
MAIN L-R MIX faderand C–R/
PHONES
knob down beforemaking connections
to and from your CR1604-VLZ.
If you shut down your equipment, turn off
your amplifiers first. When powering up, turn
on your amplifiers last.
Save the shipping box! You may need it
someday, and you don’t want to have to pay for
another one.
INSTANT MIXING
Here’s how to get going
right away, assuming you own
amicrophone andakeyboard:
1. Plug your microphone into Channel 1’s
MIC input.
2. Turn on the CR1604-VLZ.
3. PerformtheLevel-Setting Procedure .
4. Connectcords fromthe MAIN OUT jacks
to your amplifier.
5. Hookup speakers to the amp and turn it on.
6. Set channel 1’s fader to the“U” mark.
7. Engage (push in) Channel 1’s
L-R switch.
8. Setthe
MAIN L-R MIX faderone-quarter
of the way up.
9. Sing like a canary!
10. Plug your keyboard into channels 3 and 4.
11. Turn channel 3’s
PAN knob fully left and
channel 4’s
PAN knob fully right.
12. Set those faders to the “U” mark.
13.
PerformtheLevel-Setting Procedure .
14.
Engage the L-R switch on these channels.
15. Play like a madman and sing like a canary!
It’s your first mix!
READTHISPAGE!!!
Please write your serial number here for
future reference (i.e. insurance claims, tech
support, return authorization, etc.):
Part No. 820-034-00 Rev. C 4/97
©1997 Mackie Designs, All Rights Reserved.
Printed in the U.S.A.
LEVEL-SETTING PROCEDURE
Messagetoseasonedpros:do NOT setlev-
elsusing the old “Turn the trim up until the
cliplight comeson, thenback off ahair” trick.
When a Mackie Designs mixer clip light
comes on, you really are about to clip.
This procedure really works — it assures
low noise and high headroom. Please read on.
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 set the
C-R PHONES knob about
one-quarter of the way up.
The following steps must be performed
one channel at a time:
1. Turn the
TRIM , AUX sendand fader
controls fully down.
2. Besurethe
1–2 , 3–4 and L–R channel
assignment switches are all disengaged.
3. Set the
EQ knobs at the center detents.
4. Connect the signal source to the
MIC
or LINE channel input.
5. Engage (push in) the channel’s
SOLO
switch.
6. Pushin the
MODE switch in the output
section(
LEVEL SET (PFL) mode)—
the
LEVEL SET LEDwill light.
7. Play something into the selected input,
at real-world levels.
8. Adjust the
TRIM control so that the
display on the meter stays around “0.”
(Only the left meter is active in the
Level-Setting Procedure.)
9. If you’d like to apply some
EQ , doso
now and return to the previous step.
10. Disengage thatchannel’s
SOLO switch.
11. Repeat for each of channels 1–16.
Purchased at:
Date of purchase:

4
AUX
SENDS
STEREO AUX RETURNS
EFFECTS TO
MONITORS
TO AUX
SEND 2
TO AUX
SEND 1
1
2
PWR
PHAN
SOLO
SOLO
1
2
1
2
3
4
1
2
C-R/ PHNS
ONLY
RETURNS
SOLO
MAINMIX
TOSUBS
ASSIGNOPTIONS
1–2
3–4
U
OO
+20
U
OO
+20
U
OO
+15
U
OO
+15
U
OO
+20
U
OO
+20
U
OO
+10
U
OO
+10
PAN
AUX
3
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
1
2
EQ
5
46
5/6
SHIFT
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
TRIM
12 34 5 6 7 8 9 10 11 12 13 14 15 16
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
SOLO
L - R
3–4
1–2
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
OL
-20
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ EQ
5
46
5/6
SHIFT
PAN
AUX
35
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
3
EQ
5
46
5/6
SHIFT
PAN
AUX
LEFT RIGHT
PHONES
3
EQ
5
46
5/6
SHIFT
TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM TRIM
LAMP
12V
0.5A
TAPEIN
SOLO
RUDE
SOLO
LIGHT
C-R/ PHONES
SUBS 3–4
SUBS 1–2
MAIN MIX
SOURCE
TAPE TAPE TO
MAIN MIX
MAIN
L-R MIX
RIGHT
1234
LEFT
RIGHT
LEFT
RIGHT
LEFT
RIGHT
LEFT
28
CLIP
10
7
4
2
2
0
4
7
10
20
30
ASSIGN TO MAIN MIX
LEVEL
SET
TRACK
8
TRACK
7
TRACK
6
TRACK
5
TRACK
4
TRACK
3
TRACK
2
TRACK
1
TM
MODE
(AFL)
LEVELSET
NORMAL
(PFL)
U
OO
+15
U
OO
+15
U
OO
+15
CR1604-VLZ
16 -CHANNEL MIC/LINE MIXER
U
+15-15
U
+15-15
800
2k200
8k
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k
100
+15-15
800
2k200
8k100
+15-15
800
2k200
8k
100
+15-15
800
2k200
8k
100
+15-15
800
2k200
8k
100
+15-15
800
2k200
8k
100
+15-15
800
2k200
8k100
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
1
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
2
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
3
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
4
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
5
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
6
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
7
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
8
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
9
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
10
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
11
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
12
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
MID MID MID MID
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
13
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
14
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
15
MUTE
U
OO
+15
U
+15-15
U
U
+15-15
12k
HI
80Hz
LOWCUT
75Hz
18dB/OCT
LOW
U
OO
+15
U
OO
+20
OO
OO
MAX
16
MUTE
0dB= 0 dBu
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
M
I
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A
I
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10
U
60
+10dB -40dB
-
1
0
d
B
V
LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR
MAX
dB
30
20
10
OO
40
50
5
5
U
60
10
OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
dB
30
20
10
OO
40
50
5
5
U
60
10
PATENTPENDING
4321
INSERT INSERT INSERT
LINE
INSERT
MIC 4 MIC 3 MIC2 MIC 1
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINE
OO
+6
PHANTOM
POWER
120VAC 50/60 Hz 20W
315mA/250VSLO-BLO
16 15 14 13 12 11 10 9 8 7 6 5
MIC 16
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC7 MIC 6 MIC 5
SUB OUTSC-R OUTSMAIN INSERT TAPE TAPE
MAIN OUT AUX SEND DIRECT OUT
AUX RETURN
3
R
L
MONO
RRR
R
L
R
L
R
L
R
L
LLL
1
42
5
1234 31
642
753
864
1
2
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
INPUT OUTPUT
(MONO)
R
L
(MONO)(MONO)(MONO)
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINELINELINELINE
LINELINELINELINELINELINE
TOREDUCE THE RISK OF
FIREREPLACE WITH SAME
TYPEFUSE AND RATING
CAUTION:
Thank you! There are a lot of makes and
models of compact mixers out there, all com-
peting for your bucks…butyouhave votedwith
yourwallet forthe folks inWoodinville who
specializein American-mademixers.
Nowthat youhave your CR1604-VLZ,find out
howto getthe most fromit. That’swherethis
manualcomes in.
HOW TO USE THIS MANUAL
Sincemany of you folks will want tohookup
yourCR1604-VLZ immediately, the first pages
youwill encounter after the tableofcontents are
theever popular hookup diagrams. Theseshow
typicalmixer setups for Record/Mixdown, Video,
DiscJockey and StereoPA.Afterthis section is a
detailedtour of the entiremixer.
EveryfeatureoftheCR1604-VLZwillbe
described“geographically;”inother words,in
orderof whereitis physicallyplaced onthe
mixer’stopor rearpanel.Thesedescriptions are
dividedintothe firstthreemanualchapters, just
asyourmixer isorganized intothreedistinct
zones:
1. PATCHBAY: The zillion jacks on the back
of the “pod.”
2. CHANNEL STRIP: The sixteen channel
strips on the left.
3. OUTPUT SECTION: The output section on
the right.
Whenever a specific CR1604-VLZ 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-
bered featureswithinaparagraph. 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 infor-
mation that is critically
important or unique to the
CR1604-VLZ. For your own
good, read them and re-
member them. They will be on the final test.
This icon will lead you to
in-depth explanations of fea-
tures and practical tips. While
not mandatory, they’ll have
some valuable information.
THE GLOSSARY: A HAVEN OF
NON-TECHINESS FOR THE NEOPHYTE
Sincethe CR1604-VLZisoften purchasedby
folkswho arenewto thejargon of professional
audio, we’ve includeda fairly comprehensive
dictionaryof pro-audio terms. Ifterms like “clip-
ping,”“noise floor,”or “unbalanced”leave you
blank,flip tothe glossary atthe back ofthis
manualfor aquick explanation.
A PLUG FOR THE CONNECTORS SECTION
Also at the back of this manual is a section
on connectors: XLR connectors, balanced con-
nectors, unbalanced connectors, special hybrid
connectors. Although we provide diagrams
throughoutthe manual, the Connections
appendix gives more of the whys and wherefores
for beginners.
ARCANE MYSTERIES ILLUMINATED
Finally, we’ve included an appendix titled
“Balanced Lines, Phantom Powering, Ground-
ing and Other Arcane Mysteries.” This section
discusses some of the down ’n’ dirty practical
realities of microphones, fixed installations,
grounding, and balanced versus unbalanced
lines. It’s a gold mine for the neophyte and even
the seasoned pro might learn a thing or two.
INTRODUCTION
PATCHBAY
CHANNEL STRIPS
OUTPUT
SECTION

5
CONTENTS
AUX............................................................... 20
PRE ............................................................... 21
5/6 SHIFT ..................................................... 21
OUTPUT SECTION DESCRIPTION ............................ 22
MAIN L-R MIX FADER .................................... 22
VLZ MIX ARCHITECTURE ................................ 22
SUB FADERS*................................................. 22
ASSIGN TO MAIN MIX* ................................. 22
TAPE IN (LEVEL)*............................................ 23
TAPE TO MAIN MIX*...................................... 23
SOURCE* ....................................................... 23
C-R/PHONES*............................................... 23
MODE (NORMAL (AFL)/LEVEL SET (PFL))*....... 24
LEVEL SET LED* .............................................. 24
SOLO (LEVEL)* ............................................... 24
RUDE SOLO LIGHT.......................................... 24
METERS ......................................................... 25
AUX TALK ...................................................... 25
AUX SEND (MASTER)* ................................... 25
AUX SEND SOLO* .......................................... 26
AUX RETURNS (LEVEL) ................................... 26
EFFECTS TO MONITOR*................................. 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
CR1604-VLZ MODIFICATIONS............................. 28
CR1604-VLZ BLOCK DIAGRAM ............................ 30
GAIN STRUCTURE DIAGRAM................................. 31
SPECIFICATIONS.................................................... 32
SERVICE INFO ....................................................... 33
APPENDIX: Glossary ............................................. 34
APPENDIX: Connections......................................... 42
APPENDIX: Balanced Lines, Phantom Powering,
Grounding and Other Arcane Mysteries .................. 46
NEW! IMPROVED!
LOADED WITH
PROFESSIONAL FEATURES!
For those of you accustomed to the original,
classic CR-1604, do not be daunted by all the
new features — we added them just for you!
Asterisked items indicate features that we’ve
added to the New Improved CR1604-VLZ.
*
LEVEL-SETTING PROCEDURE.................................... 3
INSTANT MIXING .................................................... 3
HOOKUP DIAGRAMS .............................................. 6
CONVERTING TO RACKMOUNT MODE .................... 9
SWITCHING POSITIONS ................................... 9
PATCHBAY DESCRIPTION ......................................... 10
E-Z INTERFACE ............................................... 10
MIC/LINE INPUTS ON EVERY CHANNEL*......... 10
MIC INPUTS ................................................... 10
PHANTOM POWER ........................................ 10
LINE INPUTS .................................................. 11
TRIM ............................................................. 11
INSERT*......................................................... 11
DIRECT OUT* ................................................. 11
SPLIT MONITORING ....................................... 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................................................. 15
MAIN OUTS ................................................... 15
MONO OUTPUT ............................................. 15
MONO LEVEL* ............................................... 15
POWER CONNECTION .................................... 15
FUSE .............................................................. 15
POWER SWITCH ............................................ 16
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
LOW CUT* ..................................................... 20

6
CR1604-VLZ 8-Track Tracking
87654
34
567
891011
12
131415
16
21
1
23
4R
L
R
RLR
L
RL
RLR
12
3
4
5
6
DIRECT OUT
BAL/UNBAL
CHANNEL INSERTSAUX RETURNS
MAIN
INSERT
C/R OUT
BAL/UNBAL
MAIN OUT
BAL/UNBAL
MONOSTEREO
PHONES
OUT
AUX SENDS
BAL/UNBAL
1234
SUB OUTS
BAL/UNBAL
CHANNEL INPUTS
LL
L
R
L
R
TAPE
OUT TAPE
IN
16151413121110987654321
321
Guitar Effects
Drum Machine
Keyboard, or other line-level input
Stereo EQ w/Compressor
out
in
out
in
Mono in / stereo out Reverb
Digital Delay
Stereo Compressor
Bass Preamp
Cassette or DAT
Stereo Power Amplifier
Studio Monitors
8-track outputs
out
in
Digital 8-track
CH
1
CH
2
FULL SYMMETRY DUAL DIFFERENTI AL HIGH CURREN T DESIGN
OL
PWR
HIGHRESOLUTION STUDIOMONITOR
ON
OFF
,

OL
PWR
HIGHRESOLUTION STUDIOMONITOR
ON
OFF

HOOKUPDIAGRAMS

7
CR1604-VLZ Stereo P.A.
8 7 654
34
567
891011
12
131415
16
21
1
23
4R
L
R
RLR
L
RL
RLR
12
3
4
5
6
CHANNEL INSERTSAUX RETURNS
MAIN
INSERT
MONOSTEREO
PHONES
OUT
1234
CHANNEL INPUTS
LL
L
R
L
R
TAPE
OUT TAPE
IN
16151413121110987654321
32 1
DIRECT OUT
BAL/UNBAL
C/R OUT
BAL/UNBAL
MAIN OUT
BAL/UNBAL
AUX SENDS
BAL/UNBAL
SUB OUTS
BAL/UNBAL
Guitar Effects
Drum Machine
Keyboard, or other line-level input
Keyboard, or other line-level input
Stereo Power Amplifier
Right PA Speaker
Left PA Speaker
CD Player
M
u
l
t
i
t
r
a
c
k
R
e
c
o
r
d
e
r
Stereo EQ
Optional Live Recording
out
in
out
in
Stereo
Compressor
Stereo CompressorStereo Compressor
,
Stage Monitor
,

Stage Monitor
Mono EQMono EQ
Mono in / stereo out Reverb
Digital Delay
NOTE: for mono PA, use mono output to feed FOH.
CH
1
CH
2
FULL SYMMETR Y DUAL DIFFERENTIAL HIGH CURRENT DESIGN

8
CR1604-VLZ Video Setup
8 7 654
34
56
78910
11
12
13
141516
21
1
23
4R
L
R
RLR
L
RL
RLR
12
3
4
5
6
CHANNEL INSERTSAUX RETURNS
MAIN
INSERT
MONOSTEREO
PHONES
OUT
1234
CHANNEL INPUTS
LL
L
R
L
R
TAPE
OUT TAPE
IN
16151413121110987654321
32 1
DIRECT OUT
BAL/UNBAL
C/R OUT
BAL/UNBAL
MAIN OUT
BAL/UNBAL
AUX SENDS
BAL/UNBAL
SUB OUTS
BAL/UNBAL
Keyboard, or other line-level input
Stereo Power Amplifier
CD Player
Stereo Compressor
Mono in / stereo out Reverb
Digital Delay
Master Video
Video Deck
Video Deck
Video Deck
Computer with Audio Card
out
in
Sampler
Multi-VCR Video Switcher with Time Code Interface
CH
1
CH
2
FULL SYMMETR Y DUAL DIFFERENTIAL HIGH CURRENT DESIGN
Studio Monitors
OL
PWR
HIGHRESOLUTION STUDIOMONITOR
ON
OFF

OL
PWR
HIGHRESOLUTION STUDIOMONITOR
ON
OFF


9
CONVERTING TO RACKMOUNT MODE
Not only is the new CR1604-VLZ a compact,
professional-quality tabletop mixer, it’s rack-
mountable! Its unique rotating input pod
makes this possible.
One of the things that revolutionized the com-
pact mixer industry was the “convertible pod”
found on the original, classic CR-1604. Using
an ordinary Phillips screwdriver, the mixer
could be converted from desktop mode (as it
comes from the factory) to rackmount mode.
Fear not. We wouldn’t dare take that feature
out of the New Improved CR1604-VLZ. It’s
still there and still takes just a few minutes
with your screwdriver. Here’s how it’s done:
1.Remove ALL the cords from the mixer —
audio, power, 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 and set the plate aside.
4.Replace two of the screws; the ones at the
pod end of the mixer .
5.Remove two pod-mounting screws on each
side of the mixer .
6.Gently pull the pod away from the slots, rotate
it, and place it, tabs first, into the rackmount
tabs , located on the underside of the
main chassis. Be careful not to constrict or
pinch any of the ribbon or power cables.
7.Carefully install the pod-
mounting screws in their new
locations .
8.Install the rack ears that came
withthe mixer. They can be in-
stalled in either of two depths:
mixer’s surface flush with
the rack rails, like ordinary
rackmount equipment, or
mixer’s surface sunken into
the rack, to protect the
knobs from being bumped.
An optional accessory called the ROTOPOD-
VLZ is available and can be used in desktop or
rackmount installations. It will put the patchbay
jacksonthesameplaneasalltheknobs,buttons
and faders. This is a lifesaver in applications that
demandfrequentrepatching,and costsa heck ofa
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 “VLZ” version so you don’t
end up with the one for the classic CR-1604!
SWITCHING POSITIONS
Youmay havenoticed the whitestripes printed
just above most of the pushbutton switches on
your CR1604-VLZ. We’ve put them there to
make it easier for you to see if the switch is
engaged (down). Here’s how they work:
With the mixer in desktop mode, you’ll be
sitting just in front of it, viewing the control
panel at an oblique angle. When a switch is
disengaged (up), the button will hide the
white stripe from your field of vision. When
you engage the switch, the stripe will suddenly
appear. Although it may not seem obvious at
first, you’ll soon find that the indicator stripe
really helps you determine switch positions at
a glance. Clever, ain’t it?
remove
screws
rackmount
tab slots
remove
plate
replace
screws
remove
screws
flush mount
rotate
pod replace
screws
sunken

10
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. A few of the features
described in this section are on top of the
mixer, but most are out back on the “pod.”
E-Z INTERFACE
Concerned about levels,
balancing, impedances, po-
larity, or other interface
goblins? Don’t be. On your
CR1604-VLZ, you can patch anything almost
anywhere, 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).
• 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.
Allwe askis that youperform theLevel-Setting
Procedure everytime youpatch in anew
soundsource. Sostop worrying andstart mixing!
MIC/LINE INPUTS ON EVERY CHANNEL
The original CR-1604 had six mic/line chan-
nels and ten line-only channels. That was fine
for most applications, but live sound users
were forced to go out and buy the XLR-10 mic
input add-on module. No more. Each and every
channel on the New Improved CR1604-VLZ has
the legendary Mackie mic/line input circuit.
It’s like getting a free XLR-10 with your mixer!
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 CR1604-VLZ’s mic inputs
will handle almost any kind of mic level you
can toss at them, without overloading.
PHANTOM POWER
Mostcondenser micsrequirephantompower,
wherethe mixersendslow-currentDC voltageto
themic’selectronics through the same wires
that carry audio. The CR1604-VLZ’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 cer-
tain 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.
PATENT PENDING
4321
INSERT INSERT INSERT
LINE
INSERT
MIC 4 MIC 3 MIC 2 MIC 1
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINE
OO
+6
PHANTOM
POWER
120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
16 15 14 13 12 11 10 9 8 7 6 5
MIC 16
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5
SUB OUTSC-R OUTSMAIN INSERT TAPE TAPE
MAIN OUT AUX SEND DIRECT OUT
AUX RETURN
3
R
L
MONO
RRR
R
L
R
L
R
L
R
L
LLL
1
42
5
1234 31
642
753
864
1
2
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
INPUT OUTPUT
(MONO)
R
L
(MONO)(MONO)(MONO)
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINELINELINELINE
LINELINELINELINELINELINE
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:

11
LINE INPUTS
These
1
/ 4 " jacks share circuitry (but not
phantom power) with the mic preamps. You
can use these inputs for virtually any signal
you’ll come across, from instrument levels as
low as –40dB to operating levels of –10dBV to
+4dBu, as there is 40dB of gain available via
the
TRIM knob . Always be sure to perform
the
Level-Setting Procedure .
To learn how signals are routed from these
inputs: . To connect balanced lines to these
inputs, use a
1
/ 4 " tip-ring-sleeve (TRS) plug,
the type found on some stereo headphones:
Tip = positive (+ or hot)
Ring = negative (– or cold)
Sleeve = shield or ground
To connect unbalanced lines to these in-
puts, use a
1
/ 4 " mono (TS) phone plug or
standard instrument cable:
Tip = signal (+)
Sleeve = ground
TRIM
Yes it’s true, these controls are not located
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. Here’s why:
Every time you plug something into a
MIC or
LINE input jack, you should perform the Level-
Setting Procedure
, and that procedure is
basically “how to use the
TRIM knob.”
TRIM 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.
Through the XLR jack (
MIC ), there will be
10dB of gain with the knob fully down, ramp-
ing to 60dB of gain fully up.
Throughthe
1
/ 4 "input( LINE ),thereis 10dB
of attenuation fully down and 40dB of gain fully
up, with a “
U ” (unity gain) mark at 9:00.
This 10dB of attenuation can be very handy
when you are inserting a signal that is very hot,
or you want to add a lot of EQ gain, or both.
Without this “virtual pad,” a scenario like that
might lead to channel clipping.
INSERT
These
1
/ 4 "jacksarefor connecting serial
effects processors such as compressors, equaliz-
ers, de-essers, or filters . The
INSERT point is
after the
TRIM control, but before the channel’s
EQ , LOW CUT, fader and MUTE controls. Insert
cables must be wired thusly:
“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)
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
Even though channels 1–8 already have
DIRECT OUT jacks , INSERT jacks can also
be used as channel direct outputs; post-
TRIM ,
pre-
LOW CUT ,and pre- EQ .Here’sthreeways
you can use the
INSERT jacks:
Direct out with no signal interruption to master.
Insert only to first “click.”
Channel Insert jack
Channel Insert jack
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
For use as an effects loop.
(TIP= SEND to effect, RING = RETURN from effect.)
MONO PLUG
MONO PLUG
STEREO
PLUG
DIRECT OUT
Found only on channels 1–8, these
1
/ 4 " jacks
deliver the signal from the very end of the
channel path; post-
TRIM , post- EQ , post- LOW
CUT
,post-fader and post- MUTE .They arethe
key player in “split monitoring,” making the
CR1604-VLZ perfect for an 8-track studio. To
wire your own cables: .
PAN
AUX
3
1
2
EQ
5
46
5/6
SHIFT
PRE
TRIM
1
SOLO
L - R
3–4
1–2
OL
-20
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
800
2k200
8k
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
10 0
U
OO
+15
1
MUTE
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
B
V
LR
OO
SLEEVE
TIP
TIPSLEEVE
TIP
SLEEVE
SLEEVE
TIPSLEEVE
TIP
RING
RING
TIP
SLEEVERING

12
SPLIT MONITORING
With split monitoring, you use the first 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
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 re-
corded or pass directly through the multitrack,
depending on each track’s record-ready status.
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 inputs on the
CR1604-VLZ (multitrack out 1 to
LINE input 9,
2 to 10, 3 to 11, etc.). Aha! That’s why it says
“
TRACK 1 ”nexttochannel9’sfader,“ TRACK 2 ”
next to channel 10, and so forth. These chan-
nels (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 CR1604-VLZ is a
4-bus mixer. These buses lead to the
SUB
OUTS
, and are designed to accomplish the
task of getting channels to the multitrack with-
out 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 as-
sign multiple channels 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.
Thepoint isthat you neverlisten directlyto
thesource channels(1–8). Youlisten to the
monitorchannels (9–16)and they’relisteningto
themultitrack thatis listening tothe source
channels.The mainadvantage is thatyou won’t
beforced toconstantly repatchyourmultitrack
—just setit up andforget it. You’llalso knowfor
certainthat thesignals areindeedgetting to the
multitrack,since you’reconstantly listening toit.
Another method of interfacing a multitrack is
called inline monitoring, and requires a mixing
console dedicated to that, like the Mackie
8•Bus. Each of its channels is actually two chan-
nels: one carrying the mic/line sound source and
the other carrying the multitrack output.
AUX SEND OUTPUTS
These
1
/ 4 " jacks usually patch to the inputs
of your parallel effects devices or to the in-
puts of your stage monitor amps. To learn how
signals are routed to these outputs: . To wire
your own cables: .

13
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 send), is routed through the
effects device, and returns to the mixer
(
INSERT return). Examples: compressor, lim-
iter, graphic equalizer. Line-level sources can
also be patched through a serial effects device
before or after the mixer.
“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
(
AUX 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.
AUX RETURN INPUTS
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 sig-
nals are routed from these inputs: . To wire
your own cables: .
Mono: If you have an effects device with a
mono output (onecord), plug that into
L in-
put of an
AUX 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.
SUB OUTS
These
1
/ 4 " jacks are usually patched to the in-
puts of a multitrack deck, or to secondary
amplifiersinacomplexinstallation.To learn
how signals are routed to these outputs: .
To wire your own cables: .
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.
PATENT PENDING
4321
INSERT INSERT INSERT
LINE
INSERT
MIC 4 MIC 3 MIC 2 MIC 1
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINE
OO
+6
PHANTOM
POWER
120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
16 15 14 13 12 11 10 9 8 7 6 5
MIC 16
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5
SUB OUTSC-R OUTSMAIN INSERT TAPE TAPE
MAIN OUT AUX SEND DIRECT OUT
AUX RETURN
3
R
L
MONO
RRR
R
L
R
L
R
L
R
L
LLL
1
42
5
1234 31
642
753
864
1
2
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
INPUT OUTPUT
(MONO)
R
L
(MONO)(MONO)(MONO)
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINELINELINELINE
LINELINELINELINELINELINE
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:
Dry Signal Processed
Signal
Insert
Send Insert Return
Dry Signal(s) Dry Signal(s)
Aux
Send Aux Return
Wet Signal
Channel Path Mix
Stage
Output
Section
Processed
Signal
Signal Processor
Signal Processor
Serial Device (e.g., Compressor)
Parallel Device (e.g., Reverb)

14
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 whatsoever.
Y-cord advice:Donotuse thestereo“head-
phone-to-left/right”splitter adapters.Use the type
thatsend thesame signal totwo places; thetip of
thesource plugfeeds the tipsof both destination
plugs(Radio Shack
®
#42-2150, forinstance.)
C-R OUTS (CONTROL ROOM OUTPUTS)
These
1
/ 4 " jacks are usually patched to the
inputs of your control room amplifier or a
headphone distribution amplifier. To learn
how signals are routed to these outputs: .
To wire your own cables: .
PHONES OUTPUT
The CR1604-VLZ’s stereo
1
/ 4 " phones jack
will drive any standard headphone to very loud
levels. Walkperson-type phones can also be
used with an appropriate adapter. To learn
how signals are routed to these outputs: . If
you’re wiring your own cable for the
PHONES
output, follow standard conventions:
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 intermedi-
ate levels may be painfully loud with some
earphones. BE CAREFUL!
Always turn the
C-R/PHONES 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 find themselves with short careers.”
TAPE OUTPUT
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: .
Mono: If you want to feed a mono signal to
your tape deck or other device, simply use the
1
/ 4 " MONO output jack . Alternatively, use
an RCA Y-cord to combine the
TAPE OUTPUT
jacks (Radio Shack
®
#42-2435, for instance).
Do not attempt this with any other outputs on
the CR1604-VLZ.
TAPE INPUT
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: .
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. You
can also use these jacks with a portable tape
or CD player to feed music to a PA system
between sets .WARNING: Pushing
TAPE
TO MAIN MIX
in the out-
put 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
counterclockwise (off).
SLEEVE
TIPSLEEVE
TIP
RING
RING
TIP
SLEEVERING
PHONES
MAIN
L-R MIX
RIGHT
1234
LEFT
RIGHT
LEFT
RIGHT
LEFT
RIGHT
LEFT
ASSIGN TO MAIN MIX
dB
30
20
10
OO
40
50
5
5
U
60
10
dB
30
20
10
OO
40
50
5
5
U
60
10

15
MAIN INSERT
These
1
/ 4 " jacks are for connecting serial
effects such as compressors, equalizers, de-
essers, or filters . The
INSERT point is after
the mix amps, but before the
MAIN L-R MIX
fader. Insert cables must be wired thusly:
“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)
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground (connect shield to
all three sleeves)
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 RCA
jacks), or to the house amplifier during live
sound sessions. To learn how signals are
routed to these outputs: . To use these out-
puts to drive balanced inputs, connect
1
/ 4 " TRS
(Tip-Ring-Sleeve) phone plugs like this:
Tip = + (hot)
Ring = – (cold)
Sleeve = ground
To use these outputs to drive unbalanced
inputs, connect
1
/ 4 " TS (Tip-Sleeve) phone
plugs like this:
Tip = signal
Sleeve = ground
MONO OUTPUT
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 .
MONO LEVEL
So, Mr. Mono comes running back, scream-
ing 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 send-
ing 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 6dB of extra gain with
unity gain halfway between the one and two
o’clock positions.
POWER CONNECTION
Just in case you lose the cord provided with
the CR1604-VLZ, its power jack accepts a stan-
dard 3-prong IEC cord like those found on
most professional recorders, musical instru-
ments, and computers. At the other end of our
cord is — get this — a plug! Not a black cube
or, as we’re fond of calling them, a “wall wart.”
We did this for some very good reasons:
TheCR1604-VLZ hassophisticated power
requirements that awall wartcannotprovide.
Wallwarts areinconvenient,fragile, radiate huge
humfields, hogextra jacks onyour power strip
andget inthe way.If you losea wall wart,you’re
introuble, butif you losethe CR1604-VLZ’spower
cord,you canget a newone at anyelectronics,
music,or computerstore.You caneven buy them
at Radio Shack
®
(part # 278-1257).
Plug the CR1604-VLZ into any standard
grounded (3-pin) AC outlet or into a power
strip of proper voltage.
WARNING: Disconnecting
the plug’s ground pin can
be dangerous. Please
don’t do it.
FUSE
The CR1604-VLZ is fused for your (and its
own) protection. If you suspect a blown fuse,
disconnect the power cord, pull the fuse drawer
out (located just below the cord receptacle)
andreplacethe fusewitha1A SLOBLO,5x20mm,
available at electronics stores or your dealer
(or a 500mA [0.5 amps] SLO BLO 5x20mm if
your CR1604-VLZ is a 220V-240V unit).
SLEEVE
TIPSLEEVE
TIP
RING
RING
TIP
SLEEVERING
SLEEVE
TIP
TIPSLEEVE
TIP
SLEEVE
OO
+6
PHANTOM
POWER
120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
16 15 14 13 12 11 10
MIC 16
INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10
C-R OUTSMAIN INSERT TAPE TAPE
MAIN OUT
R
L
MONO R
L
R
L
R
L
R
L
BAL/UNBAL BAL/UNBAL
INPUT OUTPUT
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINE
LINELINELINELINELINELINE
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:

16
POWER SWITCH
If this one isn’t self-explanatory, we give up.
You can leave this switch on all the time; the
CR1604-VLZ is conservatively designed, so heat
buildup isn’t a problem even in 24-hour-a-day
operation. There’s nothing that will burn out or
get used up. You may notice that the CR1604-
VLZ’s “pod” feels quite warm (the pod is the
chassis that contains the jacks). This is per-
fectly normal.
POWER LED
You’ve probably already figured this out, but
if the
POWER 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 hap-
pened: 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 .
PHANTOM SWITCH
The PHANTOM switch controls the phan-
tom power supply for condenser microphones as
discussed at the start of this section . When
turned on (or off), the phantom power circuitry
takes a few moments for voltage to ramp up (or
down). This is also perfectly normal. For an
even closer look, refer toAppendix C.
PHANTOM LED
Located right next to the POWER LED in the
output section, this is just to let you know which
way you have the
PHANTOM 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 phan-
tom power off, the LED stays on for a while.
This is a natural phenomenon — the LED is
actually a yellow 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 in-
puts, wait until the yellow LED stops glowing
and then make your connections safely.
BNC LAMP SOCKET
Located in the top right corner of the out-
put section, this 12V socket will drive any
standard BNC-type lamp (a Littlite
®
#12G or
#12G-HI (high-intensity), for instance).
PATENT PENDING
4321
INSERT INSERT INSERT
LINE
INSERT
MIC 4 MIC 3 MIC 2 MIC 1
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINE
OO
+6
PHANTOM
POWER
120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
16 15 14 13 12 11 10 9 8 7 6 5
MIC 16
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5
SUB OUTSC-R OUTSMAIN INSERT TAPE TAPE
MAIN OUT AUX SEND DIRECT OUT
AUX RETURN
3
R
L
MONO
RRR
R
L
R
L
R
L
R
L
LLL
1
42
5
1234 31
642
753
864
1
2
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
INPUT OUTPUT
(MONO)
R
L
(MONO)(MONO)(MONO)
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINELINELINELINE
LINELINELINELINELINELINE
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:
AUX
SENDS
STEREO AUX RETURNS
EFFECTS TO
MONITORS
TO AUX
SEND 2
TO AUX
SEND 1
1
2
PWR
PHAN
SOLO
SOLO
1
2
1
2
3
4
1
2
C-R / PHNS
ONLY
RETURNS
SOLO
MAIN MIX
TO SUBS
ASSIGN OPTIONS
1–2
3–4
U
OO
+20
U
OO
+20
U
OO
+15
U
OO
+15
U
OO
+20
U
OO
+20
U
OO
+10
U
OO
+10
LEFT RIGHT
LAMP
12 V
0.5A
TM
CR1604-VLZ
16 -CHANNEL MIC/LINE MIXER

17
CHANNEL STRIP DESCRIPTION
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 drop-
outs as the wiper stumbles over the crud. Do
all you can to keep airborne crud out of your
profession. Use air conditioned rooms when-
ever 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 excur-
sions once a week or so, and that will help
scare the crud away. We do not recommend
spray cleaners.
ASSIGN (1–2, 3–4, L–R)
Alongside each channel fader are four but-
tons, labeled
SOLO , 1–2 , 3–4 and L–R . The
latter three are collectively referred to as chan-
nel 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 knob , these switches deter-
mine the destination of a channel’s signal:
With the
PAN knob 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, sim-
ply engage the
L–R switch on each channel
that you want to hear, and they’ll be sent to the
MAIN L-R MIX . If you want to create a sub-
group 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 fad-
ers . From there, the subgroups can be sent
back to the
MAIN L-R MIX , allowing you to
use the subgroup faders as a master control for
those channels.
The sixteen channel strips look alike and
function identically. The only difference is that
the eight on the left have
DIRECT OUT 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. Once you have per-
formed the
Level-Setting Procedure , you
can set every control at “U” and your signals
will travel through the mixer at optimal lev-
els. 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.
You won’t have to check it here and check it
there, as you would with some other mixers. In
fact, some don’t even have any reference to
actual dB levels at all! Ever seen those “0–10”
fader markings? We call these AUMs (Arbitrary
Units of Measurement), and they mean noth-
ing in the real world. You were smart — you
bought a Mackie.
FADER
The fader is almost the last control in a
channel’s signal path. It’s placed after the
EQ
and MUTE controls (post- EQ /post- MUTE and
before the
PAN 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 pro-
vides an additional 10dB, should you need to
boost a section of a song. If you find that the
overall level is too quiet or too loud with a
fader near unity, you’ll want to confirm the
TRIM setting by performing the Level-Setting
Procedure
.
PAN
AUX
3
1
2
EQ
5
46
5/6
SHIFT
PRE
TRIM
1
SOLO
L - R
3–4
1–2
OL
-20
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
800
2k200
8k
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
10 0
U
OO
+15
1
MUTE
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
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18
If you’re printing new tracks or bouncing ex-
isting 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 L-R MIX , but sent out, via the SUB OUTS
jacks, to your multitrack inputs . However, if
you’re printing tracks via the
DIRECT OUT
jacks , all the channel assignment switches
should be disengaged (up).
The CR1604-VLZ is what we call a “true
4-bus mixer.” Each channel can be assigned or
unassigned to any of the subgroups without af-
fecting 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 CR1606-VLZ. Darn!
SOLO
This lovable switch allows you to check
signals through your
PHONES output or C-R
OUTS
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. Not only that,
via the
MODE switch , the CR1604-VLZ’s
solo system comes in two flavors:
NORMAL
(AFL)
(sometimes called SIP, or solo-in-place)
and
LEVEL SET (PFL) (sometimes called PFL,
or pre-fader-listen).
During
NORMAL (AFL) mode, the soloed
channel’ssignalis sentdirectlyto the
C-R OUTS ,
PHONES output, and meter display just as it
would sound to the channel’s assignment
switches: post-
EQ , post-fader and post- PAN .
The only difference is that
SOLO works re-
gardless of the channel’s assignment positions,
and that makes it really handy — you can
check out a channel before you assign it.
NORMAL (AFL) is the preferred mode dur-
ing mixdown: If the channel has some
midrange boost at 4.236kHz, is panned a smid-
gen to the left, and its fader is at –5.385dB,
that’s exactly what you’ll hear if you
SOLO dur-
ing
NORMAL (AFL) mode. It’s just as if you
took the time to
MUTE all the other channels.
LEVEL SET (PFL) solo is the key player in the
all-important
Level-Setting Procedure . It’ll
send the channel’s actual internal levels to the
meters so you’ll know just what’s going on, level-
wise. This procedure should be performed every
time a new sound source is patched into a
channel’s
MIC or LINE input jacks.
LEVEL SET (PFL) is also the preferred mode
for SR (sound reinforcement, or live sound), to
preview channels before they are let into the
mix. It won’t give you stereo placement, but will
give you signal even if the fader is pulled down.
Remember,
LEVEL SET (PFL) tapsthechan-
nel 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
C-R OUTS , PHONES output
and meter display. That may result in a startling
level boost at these outputs, depending on the
position of the
SOLO level knob .
In a nutshell, soloed channels are sent to
the
SOURCE mix , that ultimately feeds your
C-R OUTS , PHONES output and meter display.
Whenever
SOLO is engaged, all SOURCE se-
lections (
MAIN MIX , 1–2 , 3–4 and TAPE ) are
defeated, to allow the soloed channel to do just
that —
SOLO !
–20 (SOLO) LED
An LED that does two completely different
things! Saves space, but requires some expla-
nation. First, the “
–20 ” part: Often referred to
as “signal activity,” this LED will flicker in time
with the signal present in that channel. It’s
handy for confirming 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 glow a bit more steadily.
Now for the “
SOLO ” part. When a channel’s
SOLO switch is engaged, this LED will glow
steadily, without flickering. It will also be
brighter than it would be as a
–20 indicator. In
conjunction with the
RUDE SOLO LIGHT ,
you can find a rogue
SOLO switch very quickly.
OL (MUTE) LED
Another LED that does two completely differ-
entthings!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 exceeds the
supply voltages that power the circuitry. The
CR1604-VLZ’s
OL LED will come on just before
clipping, so if you see it, take immediate action:
Perform the
Level-Setting Procedure . If that
doesn’t help, check for excessive use of
EQ
boost or fader gain. Like the –20 LED, it will
tend to flicker in time with that channel’s signal.
Now for the “
MUTE ” part. Assuming your
levels are set correctly, the
OL LED will never
PAN
AUX
3
1
2
EQ
5
46
5/6
SHIFT
PRE
TRIM
1
SOLO
L - R
3–4
1–2
OL
-20
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
800
2k200
8k
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
10 0
U
OO
+15
1
MUTE
M
I
C
G
A
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10
U
60
+10dB -40dB
-
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19
CONSTANT LOUDNESS ! ! !
The CR1604-VLZ’s PAN
controls employ a design
called“ConstantLoudness.”
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 0dB, it must dip down about
4dB 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.
3-BAND MID-SWEEP EQ
The CR1604-VLZ has a 3-band, mid-sweep
equalization:
LOW shelving at 80Hz, MID sweep
peaking from 100Hz to 8kHz, and
HI shelving at
12kHz. It’s probably all the EQ you’ll ever need!
(Shelving means that the circuitry boosts or
cuts all frequencies past the specified frequency.
For example, the CR1604-VLZ’s
LOW EQ boosts
bass frequencies starting at 80Hz and continu-
ing down to the lowest note you never heard.
Peaking means that certain frequencies form a
“hill” around the center frequency.)
The
LOW EQ providesupto15dB boostorcut
at80Hz.Thecircuitis flat(noboostorcut)atthe
centerdetentposition.Thisfrequencyrepresents
thepunchinbassdrums, bassguitar,fatsynth
patches,andsomereallyseriousmalesingers.
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
Used in conjunction with the LOW CUT
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 fixed
bandwidth of 1.5 octaves. The
MID knob sets
the amount of boost or cut, up to 15dB, and is
effectively bypassed at then center detent. The
frequency knob sets the center frequency,
sweepable from 100Hz to 8kHz.
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
switch is engaged.
If you need a quick reference to these LEDs,
write this on the back of your hand:
name color flickering glowing
–20(SOLO) green signalis present channel is soloed
OL(MUTE) red channel isclipping channel is muted
MUTE
Engaging a channel’s MUTE switch pro-
vides the same results as turning the 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 of course, that fun-loving OL ( MUTE )
LED will commence to 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 chan-
nel, engaging its
MUTE switch may cause a
slight popping sound. This is not a problem
within the mixer, and it can be avoided: Sim-
ply engage the
LOW CUT switch on each
channel (unless its low frequency content is
vitally important, such as a kick drum or bass
guitar).
LOW CUT eliminates subsonic de-
bris, which causes the pop, and its effect is
usually transparent.
PAN
PAN adjusts the amount of channel signal
sent to the left versus the right outputs. Pan de-
terminesthefateofthe
L-R assignment,
subgroups
1–2 and 3–4 , and the SOLO (in
LEVEL SET (PFL) mode). With the PAN knob
hard left, the signal will feed the left
MAIN L-R
MIX
, subgroup 1 , subgroup 3 and left NORMAL
(AFL)
solo mode (assuming their assignment
switches are engaged). With the knob hard
right,signalfeedstheright
MAIN L-R MIX ,sub-
group
2 , subgroup 4 and right NORMAL (AFL)
solo mode. With the PAN knob set somewhere
in-between left and right, the signal will be di-
vided between the left and right busses.
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” chan-
nel (
2 , 4 , 6 , etc.). Then pan the odd channel
hard left and the even channel hard right.
PAN
AUX
3
1
2
EQ
5
46
5/6
SHIFT
PRE
TRIM
1
SOLO
L - R
3–4
1–2
OL
-20
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
800
2k200
8k
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
10 0
U
OO
+15
1
MUTE
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
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20
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
Most of the root and lower harmonics that
define a sound are located in the 100Hz–8kHz
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 find
a point where it sounds just terrible, then back
the
MID down into the cut range, causing
those terrible frequencies to disappear. Sounds
silly, but it works. Sometimes.
The
HI EQ providesyou upto 15dB boostor
cutat 12kHz,and it is alsoflat atthedetent. Use
itto addsizzle to cymbals,an overall senseof
transparency,or anedge to keyboards,vocals, gui-
tarand baconfrying. Turn itdown alittle to
reducesibilance or tomask tape hiss.
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
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 know
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 find 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.
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
dime-store filter — an 18dB per octave curve
requires an elaborate circuit. Nothing but the
best for you.
Werecommendthat youuse
LOW CUT on ev-
erysound sourceexcept kick drum,bass guitar,
bassysynth patches,or recordingsofearth-
quakes.These aside,thereisn’t muchdown there
thatyou wantto hear,and filteringitout makes
thelow stuffyou do wantmuch morecrispand
tasty.Notonly that,but low cutcan help reduce
thepossibility offeedback in livesituations, and it
helpsto conserveamplifier power.
With
LOW CUT , you can safely boost LOW
EQ
. Many times, bass shelving eq can really
benefit 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 frying your woofer.
Here’s a frequency curve of
LOW EQ combined
with
LOW CUT :
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
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 outputs . They are
off when turned fully down, deliver unity gain
at the center detent, and can provide up to
15dB 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 output are then patched to
parallel effects processor inputs or stage
monitor amp inputs.
AUX SENDS 1 and 2 lev-
els are controlled not only by the channel’s
AUX knobs, but also by the AUX SEND mas-
ter 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
mode , these mix levels can be obtained in-
dependently of a channel’s fader settings.
PAN
AUX
3
1
2
EQ
5
46
5/6
SHIFT
PRE
TRIM
1
SOLO
L - R
3–4
1–2
OL
-20
U
OO
+15
U
OO
+15
U
OO
+15
U
+15-15
U
+15-15
800
2k200
8k
U
+15-15
12k
HI
MID
80Hz
LOW CUT
75 Hz
18dB/OCT
LOW
10 0
U
OO
+15
1
MUTE
M
I
C
G
A
I
N
10
U
60
+10dB -40dB
-
1
0
d
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OO