Mackie Musical Instrument 1604 VLZ3 User Manual

1604-VLZ3  
16-Channel Mic/Line Mixer  
O W N E R ’ S M A N U A L  
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Other Nuggets of Wisdom  
For optimum sonic performance, the channel fad-  
ers and the MAIN MIX fader should be set near the U”  
(unity gain) markings.  
Read This Page!  
We realize that you must be keen to  
try out your new 1604-VLZ3. All we ask is  
that you read this page NOW, and the rest  
can wait until youre good and ready. But  
Always turn the MAIN MIX fader and CTL ROOM/  
PHONES knob down before making connections to and  
from your 1604-VLZ3.  
do read it — youll be glad you did.  
WARNING: Before you plug the AC power  
cord into the mixer, make sure the VOLTAGE  
SELECTOR switch is set to the same voltage  
as your local AC mains supply (see page 13).  
If you shut down your equipment, turn off your ampli-  
fiers first. When powering up, turn on your amplifiers  
last.  
Save the shipping box! You may need it someday.  
Level-Setting Procedure  
Message to seasoned pros: do NOT set levels using the  
old Turn the trim up until the clip light comes on, then  
back off a hair” trick. When a Mackie mixer clip light  
comes on, you really are about to clip.  
Instant Mixing  
Heres how to get going right away, assuming you have  
a microphone and a keyboard:  
1. Plug your mic into Channel 1s MIC input.  
2. Turn on the 1604-VLZ3.  
This procedure really works — it assures low noise  
and high headroom. Please read on.  
3. Perform the Level-Setting Procedure.  
Its not even necessary to hear what youre doing to  
set optimal levels. But if youd like to: Plug headphones  
into the PHONES output jack, then set the CTL ROOM/  
PHONES knob about one-quarter of the way up.  
4. Connect cords from the MAIN OUT jacks to  
your amplifier.  
5. Hook up speakers to the amp and turn it on.  
6. Set channel 1s fader to the U” mark.  
7. Engage (push in) Channel 1s L-R switch.  
The following steps must be performed one channel at  
a time:  
8. Set the MAIN MIX fader one-quarter of the way  
up.  
1. Turn the GAIN, AUX send and fader controls  
fully down.  
9. Sing like a canary!  
2. Be sure the 1–2, 3–4 and L–R channel assign-  
ment switches are all disengaged.  
10. Plug your keyboard into channels 3 and 4.  
11. Turn channel 3s PAN knob fully left and chan-  
nel 4s PAN knob fully right.  
3. Set the EQ knobs at the center detents.  
4. Connect the signal source to the MIC or LINE  
channel input.  
12. Set those faders to the U” mark.  
13. Perform the Level-Setting Procedure.  
14. Engage the L-R switch on these channels.  
5. Engage (push in) the channels SOLO switch.  
6. Push in the MODE switch in the output section  
(LEVEL SET (PFL) mode) — the LEVEL SET  
LED will light.  
15. Play like a madman and sing like a canary!  
7. Play something into the selected input, at real-  
world levels.  
Please write your serial number here for future  
reference (i.e., insurance claims, tech support,  
return authorization, make dad proud, etc.)  
8. Adjust the GAIN control so that the display on  
the meter stays around 0.” (Only the left meter  
is active in the Level-Setting Procedure.)  
9. If youd like to apply some EQ, do so now and  
return to the previous step.  
Purchased at:  
10. Disengage that channels SOLO switch.  
11. Repeat for each of channels 1–16.  
Part No. 0019816 Rev. C  
Date of purchase:  
©2007 LOUD Technologies Inc. All Rights Reserved. Printed in China.  
Loosely based on a dream sequence in which the entire Mackie marketing  
department dance "The Twist" on a live TV pop music show back in 1966.  
3
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Introduction  
Thank you for choosing a Mackie professional com-  
pact mixer. The 1604-VLZ3 is equipped with our preci-  
sion-engineered XDR2TM Extended Dynamic Range  
premium studio-grade mic preamp.  
This icon marks information that is critically  
important or unique to the 1604-VLZ3. For your  
own good, read them and remember them. They  
will be on the final test.  
Now that you have your 1604-VLZ3, find out how to get  
the most from it. Thats where this manual comes in.  
This icon will lead you to in-depth explana-  
tions of features and practical tips. While not  
mandatory, they usually have some valuable  
nuggets of information.  
How To Use This Manual  
Since many of you folks will want to hook up your  
1604-VLZ3 immediately, the rst pages you will en-  
counter after the table of contents are the ever-popular  
hookup diagrams. These show typical mixer setups for  
Recording and Stereo PA. After this section is a detailed  
tour of the entire mixer.  
Appendix A is a section on troubleshooting and repair  
information.  
Appendix B is a section on connectors: XLR connec-  
tors, TRS balanced connectors, TS unbalanced connec-  
tors, and Insert connectors.  
Appendix C shows the technical specifications, and  
a block diagram showing the internal signal path and  
general goings-on within the mixer.  
Every feature of the 1604-VLZ3 is described geo-  
graphically;” in other words, in order of where it is  
physically placed on the mixers top or rear panel. These  
descriptions are divided into the first three sections,  
just as your mixer is organized into three distinct zones:  
Patchbay: The patchbay along the top and back,  
where you connect things.  
Channel Strip: The sixteen channel strips on the  
left where you adjust each channel.  
Output Section: The output section on the right.  
Throughout these chapters youll find illustrations,  
with each feature numbered. If youre curious about a  
feature, simply locate it on the appropriate illustration,  
notice the number attached to it, and find that number  
in the nearby paragraphs.  
Need help with your new mixer?  
FAQs (Frequently Asked Questions), manuals, addendums, and  
user forums.  
• Email us at: techmail@mackie.com.  
Telephone 1-800-898-3211 to speak with one of our splendid  
technical support chaps, (Monday through Friday, from 7 a.m.  
to 5 p.m. PST).  
4
1604-VLZ3  
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Contents  
SPECIFICATIONS ............................................. 30  
TRACK SHEET.................................................. 32  
BLOCK DIAGRAM............................................ 34  
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HOOKUP DIAGRAMS  
Mic 1-2  
Guitar  
Bass  
Processors  
Stereo Compressor  
Keyboard  
Drum Machine  
Multi-track  
Digital Recorder  
Stereo Compressor  
and Stereo EQ  
Stereo Tape Deck  
HR824s or  
other Powered  
Studio Monitors  
Reverb  
Delay  
Mono in  
Stereo out  
Headphones  
Recording System  
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Stereo  
Compressors  
Mics 1-4  
Guitar  
Processor  
Drum Machine  
Active Stage Monitors  
Keyboard or other line-level input  
Left and Right  
Active PA Speakers  
Mono EQ  
Mono EQ  
CD/DVD Player  
Stereo Compressor  
and Stereo EQ  
Reverb  
Multi-track  
Digital Recorders  
for Optional Live Recording  
Delay  
Headphones  
Live Stereo PA System  
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Converting To Rackmount Mode  
Not only is the new 1604-VLZ3 a compact, profes-  
sional-quality tabletop mixer, its rack- mountable. The  
unique rotating input pod makes this possible.  
7. Carefully install the pod-mounting screws in  
their new locations [d].  
8. Install the rack ears that came with the mixer,  
using the supplied packet of screws. These  
screws are a bit longer than the ones you have  
to take out. The rack ears can be installed in  
either of two depths as shown at the bottom  
of this page: [e] mixers surface flush with the  
rack rails, like ordinary rackmount equipment,  
or [f] mixers surface sunken into the rack, to  
protect the knobs from being bumped.  
With a trusty phillips screwdriver, nerves of steel, grit,  
determination, your charming good looks, and a few  
moments of your valuable time, it can be converted from  
desktop mode (from the factory) to rackmount mode:  
1. Turn off the power and remove ALL the cords  
from the mixer — power cord, audio, lamps,  
everything.  
2. Place the mixer, face down, on a clean soft  
surface, like a blanket or very large dog.  
NOTE: If you remove the rack ears at a later date,  
use the original (shorter) screws to secure the  
sides.  
3. Remove the four screws securing the cable  
cover [a] and set the plate aside.  
An optional accessory called the ROTOPOD-VLZ is  
available and can be used in desktop or rackmount  
installations. It will put the patchbay jacks on the same  
plane as all the knobs, buttons and faders. This is a life-  
saver in applications that demand frequent repatching,  
and costs a heck of a lot less than an external patchbay,  
not to mention all the interface and patch cords. Please  
visit your dealer for more exciting details. Be sure to  
order the VLZ3 version so you dont end up with the  
one for the classic CR-1604!  
4. Replace two of the screws; the ones at the pod  
end of the mixer [b].  
5. Remove two pod-mounting screws on each side  
of the mixer [c].  
6. Gently pull the pod away from the slots, rotate  
it, and place it, tabs first, into the rackmount  
tabs [d], located on the underside of the main  
chassis. Be careful not to constrict or pinch any  
of the ribbon or power cables.  
remove  
screws  
replace  
screws  
remove  
plate  
rackmount  
tab slots  
rotate  
pod  
remove  
screws  
replace  
screws  
use the longer screws  
that come in a little bag  
use the longer screws  
that come in a little bag  
sunken  
position  
flush mount  
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Patchbay Description  
1
At the risk of stating the obvious, this is where you  
plug everything in: microphones, line-level instruments  
and effects, headphones, and the ultimate destination  
for your sound: a tape recorder, PA system, etc. A few of  
the features described in this section are on top of the  
mixer, but most are out back on this pod.”  
Professional ribbon, dynamic, and condenser mics  
will all sound excellent through these inputs. The  
1604-VLZ3’s mic inputs will handle any kind of mic level  
you can toss at them, without overloading. Be sure to  
perform the Level-Setting Procedure on page 3.  
Not every instrument is made to connect directly to a  
mixer. Guitars commonly need a Direct Injection (DI)  
box to connect to the mixer's MIC inputs. These boxes  
convert unbalanced line-level signals from your guitar,  
into balanced mic-level outputs, and provide signal and  
impedance matching. They also let you send your gifted  
guitar renditions over long cables or audio snakes, with  
minimum interference or high-frequency signal loss. Ask  
your dealer or guitar maker about their recommenda-  
tions for a good DI box.  
See Appendix B (page 27) for further details and  
some rather lovely drawings of the connectors you can  
use with the 1604-VLZ3.  
E-Z INTERFACE  
Concerned about levels, balancing, imped-  
ances, polarity, or other interface goblins?  
Dont be. On your 1604-VLZ3, you can patch  
anything almost anywhere, with nary a care.  
Heres why:  
PHANTOM POWER  
Every input and output is balanced (except  
insert, phones and RCA jacks).  
Most modern professional condenser mics  
are equipped for Phantom Power, which lets  
the mixer send low-current DC voltage to  
Every input and output will also accept unbal-  
anced lines (except XLR jacks when phantom  
power is on).  
the mics electronics through the same wires that carry  
audio. (Semi-pro condenser mics often have batteries to  
accomplish the same thing.) Phantom” owes its name  
to an ability to be unseen” by dynamic mics (Shure  
SM57/SM58, for instance), which dont need external  
power and arent affected by it anyway.  
Every input is designed to accept virtually any  
output impedance.  
The main left and right mix outputs can deliver  
28 dBu into as low as a 600 ohm load.  
The 1604-VLZ3’s phantom power is globally controlled  
by the PHANTOM [22] switch on the rear panel. (This  
means the phantom power for all channels is turned on  
and off together.)  
All the other outputs can deliver 22 dBu into as  
low as a 600 ohm load.  
All the outputs are in phase with the inputs.  
All we ask is that you perform the Level-Setting Pro-  
cedure every time you patch in a new sound source. So  
stop worrying and start mixing!  
Never plug single-ended (unbalanced)  
microphones, or ribbon mics into the MIC  
input jacks if phantom power is on.  
1. MIC INPUTS  
Do not plug instrument outputs into the  
MIC input jacks with phantom power on  
unless you know for certain it is safe to do so.  
We use phantom-powered, balanced microphone  
inputs just like the big studio mega-consoles, for exactly  
the same reason: This kind of circuit is excellent at  
rejecting hum and noise. You can plug in almost any  
kind of mic that has a standard XLR-type male mic con-  
nector.  
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6
5
4
2
2. LINE INPUTS  
4. INSERT  
These 1/4" jacks share circuitry (but not phantom  
power) with the mic preamps, and can be driven by  
These unbalanced 1/4" jacks are for connecting serial  
effects processors such as compressors, equalizers,  
balanced or unbalanced sources at almost any level. You de-essers, or filters. The insert point is after the GAIN  
can use these inputs for virtually any signal youll come  
across, from instrument levels as low as –50 dBu, to  
[3] control, but before the channels EQ [32], LOW  
CUT [33], FADER [25] and MUTE [30] controls. Insert  
operating levels of –10 dBV to +4 dBu, since there is –15 cables must be wired thusly:  
to +45 dB of gain (60 dB range) available for line inputs  
via the GAIN [3] knob. Always make sure to perform the  
SEND to processor  
ring  
tip”  
(TRS plug)  
tip  
sleeve  
Level-Setting Procedure on page 3.  
This plug connects to one of the  
mixers Channel Insert jacks.  
ring”  
To connect balanced lines to these inputs, use a 1⁄4"  
Tip-Ring-Sleeve (TRS) plug, the type found on stereo  
headphones:  
RETURN from processor  
Tip = send (output to effects device)  
Ring = return (input from effects device)  
Sleeve = common ground  
To connect unbalanced lines to these inputs, use a  
1⁄4" mono (TS) phone plug or instrument cable:  
Even though channels 1–8 already have DIRECT OUT  
[5] jacks , INSERT jacks can also be used as channel  
direct outputs; post-GAIN, pre-LOW CUT, and pre-EQ.  
See the connector section on page 29 (gure F) showing  
three ways to use insert cables.  
3. GAIN  
Yes its true, these controls are not in the  
patchbay section at all. Theyre found along the  
top row of knobs in the channel strip section.  
But their purpose is so closely linked with the  
MIC [1] and LINE [2] input jacks that we  
couldnt bear to separate them. Heres why:  
Every time you plug something into a MIC or  
LINE input jack, you should perform the Level-  
Setting Procedure, and that procedure is basi-  
cally how to use the GAIN knob.”  
3
5. DIRECT OUT  
Found only on channels 1–8, these balanced 1/4"  
jacks deliver the signal from the very end of the channel  
path; post-GAIN [3], post-EQ [32], post-LOW CUT [33],  
post-FADER [25], and post-MUTE [30]. They are the  
key player in split monitoring,” making the 1604-VLZ3  
perfect for an 8-track studio.  
GAIN adjusts the input sensitivity of the MIC  
and LINE inputs. This allows signals from the  
outside world to be adjusted to optimal internal  
operating levels.  
SPLIT MONITORING  
With split monitoring, you use the first  
eight channels for your sound sources: vocal  
mics, drum mics, keyboard/synth outputs,  
Through the XLR jack (MIC), there will  
be 0 dB of gain with the knob fully down,  
ramping to 60 dB of gain fully up.  
guitar effects outputs, that sort of thing.  
From there, the channels manipulate the sound, but  
are not assigned to the output section. Instead, theyre  
patched from the channels DIRECT OUT [5] jacks to  
the corresponding multitrack input (DIRECT OUT 1 to  
multitrack input 1, 2 to 2, 3 to 3, etc.). The signals will  
now be recorded or pass directly through the multitrack,  
depending on each tracks record-ready status.  
Through the 1/4" input (LINE), there is 15 dB of at-  
tenuation fully down and 45 dB of gain fully up, with a  
“U” (unity gain) mark at 10:00.  
This 15 dB 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,” this  
scenario might lead to channel clipping.  
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to some of the tracks, and the DIRECT OUT jacks to  
feed single-channel signals (like bass guitar) to the  
other tracks.  
multitrack  
machine  
The point is that you never listen directly to the  
source channels (1–8). You listen to the monitor chan-  
nels (9–16) and theyre listening to the multitrack that  
is listening to the source channels. (Make sure to assign  
the monitor channels 9-16 to the L/R mix, and not the  
source channels 1-8.) The main advantage is that you  
wont be forced to constantly repatch your multitrack  
— just set it up and forget it. Youll also know for cer-  
tain that the signals are indeed getting to the multi-  
track, since youre constantly listening to it.  
sound sources  
1–8  
9–16  
Another method of interfacing a multitrack is called  
inline monitoring, and requires a dedicated mixing  
console, like the Mackie 8Bus. Each of its channels is  
actually two channels: one carrying the mic/line sound  
source and the other carrying the multitrack output.  
direct  
group  
outputs outputs  
6. AUX SEND OUTPUTS  
The outputs of the multitrack are then patched to the  
next eight LINE [2] inputs on the 1604-VLZ3 (multi-  
track out 1 to LINE input 9, 2 to 10, 3 to 11, etc.). Aha!  
Thats why it says “TRACK 1” next to channel 9s fader,  
“TRACK 2” next to channel 10, and so forth. These chan-  
nels (9–16) will be assigned to the mixers output sec-  
tion, delivering the signals to their ultimate destination,  
which may be your mixdown 2-track, your control room  
system, or your headphones.  
These 1/4" jacks usually patch to the inputs of your  
parallel effects devices or to the inputs of your stage  
monitor amps. For details see "Aux Talk" on page 23.  
EFFECTS: SERIAL OR PARALLEL?  
Youve heard us carelessly toss around the terms se-  
rial” and parallel.” Heres what we mean by them:  
Serial” means that the entire signal leaves the mixer  
(INSERT [4] send), is routed through the effects  
device, and returns to the mixer (INSERT return). Ex-  
amples: compressor, limiter, graphic equalizer. Line-lev-  
el sources can also be patched through a serial effects  
device before or after the mixer.  
Insert  
Send  
Insert  
Return  
But lets not forget that the 1604-VLZ3 is a 4-bus  
mixer. These buses lead to the SUB OUTS [8], and are  
designed to accomplish the task of getting channels to  
the multitrack without using the direct outputs.  
Signal Processor  
(e.g., Compressor)  
Processed  
Signal  
Dry Signal  
Parallel” means that a portion of the signal in the  
mixer is tapped off to the device (AUX SEND [6]), pro-  
cessed, and returned to the mixer (STEREO RETURN  
[7]) to be mixed with the original drysignal. This way,  
multiple channels can all make use of the same effects  
device. Examples: reverb, digital delay.  
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 mixers  
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.)  
Aux  
Send  
Aux  
Return  
Output  
Section  
Signal Processor  
(e.g., Reverb)  
Wet Signal  
The advantages: You can assign any channel to any  
track, without repatching. You can assign multiple chan-  
nels to one track and control the overall level of that  
subgroup. You cant bounce tracks without this feature.  
Mix  
Stage  
Processed  
Signal  
Channel Path  
Dry Signal(s)  
Dry Signal(s)  
Perhaps the best method is to do both: Use the SUB  
OUTS to feed multichannel submixes (like a drum kit)  
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18  
14  
13 12 11 9  
8
7
15  
16  
19  
7. STEREO RETURNS  
9. C-R OUTS (CONTROL ROOM OUTPUTS)  
This is where you connect the outputs of your parallel  
effects devices (or extra audio sources). Theyll accept  
These 1/4" jacks are usually patched to the inputs of  
your control room amplifier or a headphone distribu-  
just about any pro or semipro effects device on the mar- tion amplifier. To learn how signals are routed to these  
ket. To learn how signals are routed from these inputs,  
see STEREO RETURN LEVEL [51] on page 23.  
outputs, see CTL ROOM/PHONES [43] on page 20.  
10. PHONES OUTPUT (on front panel)  
Mono: If you have an effects device with a mono  
output (one cord), plug that into the left input of a  
STEREO RETURN and leave the right input unplugged.  
The 1604-VLZ3’s stereo 1/4"  
phones jack will drive any stan-  
10  
That way, the signal will be sent to both sides, magically dard headphone to very loud lev-  
appearing in the center as a mono signal.  
els. Walkperson-type phones can  
also be used with an appropriate  
adapter. To learn how signals are  
routed to these outputs, see CTL  
ROOM/PHONES [43] on page 20.  
If youre wiring your own cable for  
the PHONES output:  
8. SUB OUTS  
These four 1/4" jacks are usually patched to the in-  
puts of a multitrack deck, or to secondary amplifiers in a  
complex installation. To learn how signals are routed to  
these outputs, see SUBGROUP FADERS [38], page 19.  
Tip = left channel  
Double Busing  
Ring = right channel  
Sleeve = common ground  
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:  
WARNING: When we say the headphone  
amp is loud, were not kidding. It can cause  
permanent ear damage. Even intermediate  
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  
levels may be painfully loud with some earphones. BE  
CAREFUL! Always turn the CTL ROOM/PHONES [43]  
knob all the way down before connecting headphones.  
Keep it down until youve put the phones on. Then turn  
it up slowly. Why? “Engineers who fry their ears find  
themselves with short careers.”  
Tracks in record mode will accept the signal, and  
tracks in safe mode will ignore the signal. Its that easy.  
This method is exactly the same as the  
double-busing feature found in other mixers.  
Built-in double-busing is nothing more than Y-  
cords living inside the mixer instead of hang-  
ing out the back. If we had room for the extra jacks, we  
would have thrown them in, but we dont, so we didnt.  
Sonically, there is no difference.  
11. TAPE OUTPUT  
These unbalanced RCA jacks tap the main mix out-  
puts to make simultaneous recording and PA work more  
convenient. Connect these to your 2-track recorders  
inputs. To learn how signals are routed to these outputs,  
see MAIN MIX [37] fader details on page 19.  
Mono: If you want to feed a mono signal to your tape  
deck or other device, simply use the 1/4" MONO [15]  
output jack.  
Y-cord advice: Do not use the stereo headphone-to-  
left/right” splitter adapters. Use the type that send the  
same signal to two places; the tip of the source plug  
feeds the tips of both destination plugs.  
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a cord in this 1/4" jack, hand the other end to Mr. Mono,  
and youre done. Hes got his mono mix and youve still  
got your stereo mix. The MONO output is nothing more  
than a mix of the left and right main mix.  
12. TAPE INPUT  
These unbalanced RCA jacks are designed to work  
with semipro as well as pro recorders. Connect your  
2-track tape recorders outputs here, using standard hi-fi  
RCA cables. To learn how signals are routed from these  
inputs, see TAPE IN (LEVEL) [40] on page 20.  
16. MONO LEVEL  
So, Mr. Mono comes running back, screaming about  
the mono mix being so loud that his camcorder is melt-  
ing. Just reach for this knob and turn it down a bit. Just  
the thing for sending mono signals to mic inputs like  
camcorders, telephone interface boxes, even answering  
machines. With the pot all the way up (fully clockwise),  
youll have 6 dB of extra gain, with unity gain halfway  
between the one and two o’clock positions.  
Use these jacks for convenient playback of your mixes.  
Youll 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  
[41] in the output section can create a feed-  
back 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).  
17. VOLTAGE SELECTOR  
Located on the bottom panel, is a voltage selector  
switch.  
13. MAIN INSERT  
17  
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  
MIX [37] fader. Insert cables must be wired thusly:  
WARNING: Before you plug the AC  
power cord into the 1604-VLZ3, you  
Tip = send (output to effects device)  
must make sure that this slide switch  
is set to the same voltage as your local AC mains  
supply. Only slide the voltage switch with the  
power cord unplugged.  
Ring = return (input from effects device)  
Sleeve = common ground (connect shield to all  
three sleeves)  
14. MAIN OUTS  
Use a flat headed screwdriver to slide the switch if  
needed. The switch allows you to use the mixer in dif-  
ferent countries and voltages, meet interesting people  
from other cultures, and entertain them.  
These 1/4" jacks are usually patched to the inputs  
of your 2-track mixdown deck (unless youve chosen  
to use the TAPE OUTPUT [11] RCA jacks), or to the  
house amplifier during live sound sessions. To learn how  
signals are routed to these outputs see MAIN MIX [37]  
fader details on page 19. To use these outputs to drive  
balanced inputs, connect 1/4" TRS (Tip-Ring-Sleeve)  
phone plugs like this:  
18. POWER CONNECTION  
Just in case you lose the cord provided with the 1604-  
VLZ3, its power jack accepts a standard 3-prong IEC  
cord like those found on most professional recorders,  
musical instruments, and computers.  
Tip = + (hot)  
WARNING: Before you plug the AC power  
cord into the 1604-VLZ3, you must make sure  
that the VOLTAGE SELECTOR [17] slide  
switch is set to the same voltage as your local AC mains  
supply.  
Ring = – (cold)  
Sleeve = ground  
To use these outputs to drive unbalanced inputs, con-  
nect 1/4" TS (Tip-Sleeve) phone plugs like this:  
Tip = signal  
WARNING: Disconnecting the plugs ground  
pin can be dangerous. Please dont do it.  
Sleeve = ground  
15. 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 care-  
fully-placed PAN settings to one side. What to do? Stick  
13  
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20 22  
19  
19. FUSE  
The 1604-VLZ3 is fused for your (and its own)  
protection. If you suspect a blown fuse, disconnect the  
power cord, pop out the fuse drawer with a small flat  
screwdriver, and replace the fuse with a 1A SLO BLO,  
5x20mm, available at electronics stores or your dealer  
(or a 500 mA SLO BLO 5x20 mm if your 1604-VLZ3 is set  
to 220V-240V).  
24  
If two fuses blow in a row, something is very wrong.  
Please call our toll-free number 1-800-898-3211 from  
within the U.S. (or call the distributor in your country)  
and find out what to do.  
20. POWER SWITCH  
23  
21  
Press the top of this rocker switch inwards to turn  
on the mixer. The POWER LED [21] on the top surface  
of the mixer will glow with happiness, or at least it will  
if you have the mixer plugged in to a suitable live AC  
mains supply.  
22. PHANTOM SWITCH  
This switch controls the phantom power supply for  
all the MIC [1] inputs, as discussed on page 9. When  
turned on (or off), the phantom power circuitry takes a  
few moments for voltage to ramp up (or down). This is  
perfectly normal. Make sure that you pull down the mas-  
ter fader, and headphone/control room volume before  
engaging the phantom switch.  
Press the bottom of this switch to turn off the mixer,  
whenever you feel that this would be a safe thing to do.  
Half-way through Viking Warlord Ragnar's Heavy Metal  
guitar solo might not be such a good time.  
As a general guide, you should turn on your mixer  
rst, before the power amplifier or powered speakers,  
and turn it off last. This will reduce the possibilities of  
any turn-on, or turn-off thumps in your speakers.  
23. 48V LED  
Located right next to the POWER LED, this is just to  
let you know which way you have the PHANTOM [22]  
switch set. If your dynamic mics work and your condens-  
ers dont, chances are this LED is off, so turn it on.  
21. POWER LED  
Youve probably already figured this out, but if the  
POWER [20] switch is on, this LED (light-emitting  
diode), located in the output section, will light. If the  
switch is off, well, you get the idea. If the POWER switch  
is on and the LED does not glow, one of three things  
has happened: Somebody tripped over the power cord  
and yanked it from the outlet, your electricity has been  
turned off due to nonpayment, or the fuse has blown.  
Youll notice that when you turn the phantom power  
off, the LED stays on for a while. This is a natural phe-  
nomenon — the LED is actually a voltmeter telling you  
that the phantom power takes time to ramp itself down  
to zero volts. So, if youve turned phantom power off to  
connect something to the mic inputs, wait until the LED  
stops glowing and then make your connections safely.  
24. BNC LAMP SOCKET  
Located in the top right corner of the output sec-  
tion, this 12V socket will drive any standard BNC-type  
lamp (a Littlite® #12G or #12G-HI (high-intensity), for  
instance).  
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Channel Strip Description  
The sixteen channel strips look alike  
and function identically. So if you learn  
one, you have learned them all. The only  
difference is that the eight on the left have  
DIRECT OUT [5] jacks and the eight on  
the right dont. Well start at the bottom  
and work our way up.  
26. ASSIGN (1–2, 3–4, LR)  
Alongside each channel fader are four buttons,  
labeled SOLO, 12, 3–4 and LR. The latter three are  
collectively referred to as channel assignment switches.  
1, 3 and L are the left sides of these stereo pairs, and  
2, 4 and R are the right sides. Used in conjunction with  
the channels PAN [31] knob, these switches determine  
the destination of a channels signal: With PAN set at  
the center detent, the left and right sides receive equal  
signal levels. To feed only one side or the other, just turn  
the PAN knob accordingly.  
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 performed the  
Level-Setting Procedure , you can set every  
control at U” and your signals will travel  
through the mixer at optimal levels. Whats  
more, all the labels on our controls are  
measured in decibels (dB), so youll know  
what youre doing level-wise if you choose  
to change a controls settings.  
If youre doing a mixdown to a 2-track, simply engage  
the LR switch on each channel that you want to hear,  
and theyll be sent to the main mix. If you want to create  
a subgroup of certain channels, engage either the 1–2  
or 3–4 switches instead of the LR, and theyll be sent  
to the appropriate subgroup faders. From there, the  
subgroups can be sent back to the main mix, allowing  
you to use the subgroup faders as a master control for  
those channels.  
If youre printing new tracks or bouncing existing  
ones, youll also use the 1–2 and 3–4 switches, but not  
the LR switch. Here, you dont want the subgroups  
sent back into the main mix, but sent out, via the SUB  
OUTS [8] jacks, to your multitrack inputs. However, if  
youre printing tracks via the DIRECT OUT [5] jacks, all  
the channel assignment switches should be disengaged  
(up).  
25. CHANNEL FADER  
The fader is almost the last control in a  
channels signal path. Its placed after the  
EQ [32] and MUTE [30] controls (post-EQ  
/post-MUTE) and before the PAN [31]con-  
trol (pre-PAN). The U” mark, about three-  
quarters of the way up, indicates unity  
gain, meaning no increase or decrease of  
signal level. All the way up provides an  
additional 10 dB, should you need to boost  
a section of a song. If you find that the  
overall level is too quiet or too loud with a  
fader near unity, youll want to confirm the  
setting by performing the Level-Setting  
Procedure on page 3.  
The 1604-VLZ3 is what we call a true 4-bus mixer.”  
Each channel can be assigned or unassigned to any of  
the subgroups without affecting the other subgroups or  
settings within the channel, and each subgroup has its  
own master fader and dedicated output. In fact, since  
there are 4 subgroups and the main L/R mix, its actually  
a true 6-bus mixer. We could have named it the 1606-  
VLZ3. Darn!  
26  
25  
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 whenever pos-  
sible, avoid smoking near the mixer, keep food and drink  
away from the mixer, and for pity’s sake, never put the  
mixer in your kitchen! We also recommend exercising”  
the faders — give them a few full-travel excursions  
once a week or so, and that will help scare the crud  
away. Do not use spray cleaners, rather use compressed  
air, or a vacuum with brush attachment.  
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27. SOLO  
29. OL (MUTE) LED  
This lovable switch allows you to check signals in your  
Another LED that does two completely different  
phones or control room without having to assign them to things! First, the OL” part: OL” means overload, or  
the L-R, 1-2 or 3-4 mixes. You can solo as many channels clip. You dont want that to happen. Ever. Clipping can  
as you like. SOLO does not interrupt any of the other  
channels, buses or outputs — thats called nondestruc-  
tive solo.  
happen to any mixer — its the point where the signals  
voltage tries to exceed the supply voltages that power  
the circuitry. The 1604-VLZ3’s OL LED will come on just  
before clipping, so if you see it, take immediate action:  
Perform the Level-Setting Procedure on page 3. If that  
doesnt help, check for excessive use of EQ boost or  
fader gain. Like the –20 LED, it will tend to flicker in  
time with that channels signal.  
Using the MODE [44]  
switch, the 1604-VLZ3’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). The MODE switch is described in tender  
loving detail on page 21.  
Now for the MUTE” part. Assuming your levels are set  
correctly, the OL LED will never come on as a result of  
clipping. Thats pretty boring. So, to liven things up, this  
LED will glow steadily when that channels MUTE [30]  
switch is engaged.  
LEVEL SET (PFL) taps the channel signal  
before the fader. If you have a channels  
fader set way below U” (unity gain), SOLO  
Here is a quick reference to these LEDs:  
wont know that and will send a unity gain signal to the  
control room, headphones, and meter display. That may  
result in a startling level boost at these outputs, depend-  
ing on the position of the SOLO [46] level knob.  
Name  
Color  
green  
red  
Flickering  
Glowing  
–20 (SOLO)  
OL (MUTE)  
signal present  
channel soloed  
channel clipping channel muted  
In a nutshell, soloed channels are sent to the SOURCE  
[42] mix, that ultimately feeds your control room, head-  
phones and meter display. Whenever SOLO is engaged,  
all source selections (MAIN MIX, 1–2, 3–4, and TAPE)  
30. MUTE  
Engaging this switch provides the same results as  
turning the channel's fader all the way down: Any chan-  
are defeated, to allow the soloed channel to do just that nel assignment to L-R, 1-2 or 3-4 will be interrupted.  
— SOLO!  
All the post AUX sends will be silenced, as will the  
direct out signals on channels 1 through 8, and the OL  
(MUTE) LED will glow. The PRE AUX sends, channel  
INSERT send, and SOLO (in LEVEL SET (PFL) mode)  
will continue to function during MUTE.  
28. –20 (SOLO) LED  
An LED that does two completely differ-  
ent things! Saves space, recycles the planet,  
but requires some explanation. First, the  
Depending on the audio content in a channel, engag-  
20” part: Often referred to as signal activ- ing its MUTE switch may cause a slight popping sound.  
32  
31  
ity,” this LED will flicker in time with the  
signal present in that channel. Its handy  
for confirming that a channel is indeed  
active, and may also lend a clue as to what  
This is not a problem within the mixer, and it can be  
avoided: Simply engage the LOW CUT [33] switch on  
each channel (unless its low frequency content is vitally  
important, such as a kick drum or bass guitar). LOW  
the signal is. For instance, a kick drum will CUT eliminates subsonic debris, which causes the pop,  
cause the LED to pulse in time with the  
drum, and a synth pad will cause it glow a  
bit more steadily.  
and its effect is usually transparent.  
30  
29  
28  
27  
Now for the SOLO” part. When a chan-  
nels SOLO switch is engaged, this LED will  
glow steadily, without flickering. It will also  
be brighter than it would be as a –20 indica-  
tor. In conjunction with the RUDE SOLO  
LIGHT [47], you can find a rogue SOLO  
switch quickly.  
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+15  
+10  
The LOW EQ provides up to  
15 dB boost or cut below 80 Hz.  
The circuit is flat (no boost or  
cut) at the center detent posi-  
tion. This frequency represents  
the punch in bass drums, bass  
31. PAN  
+5  
0
This adjusts the amount of channel signal sent to the  
left versus the right outputs. PAN determines the fate  
of the L-R assignment, subgroups 1–2 and 3–4, and the  
SOLO (in AFL mode). With the PAN knob hard left, the  
signal will feed the left main mix, subgroup 1, subgroup  
3 and left NORMAL (AFL) solo mode (assuming their  
assignment switches are engaged). With the knob hard  
right, signal feeds the right main mix, subgroup 2, sub-  
group 4 and right NORMAL (AFL) solo mode. With PAN  
set somewhere in-between left and right, the signal will  
be divided between the left and right buses.  
–5  
10  
15  
20  
Hz  
100  
Hz  
1kHz  
10kHz 20kHz  
guitar, fat synth patches, and some really serious male  
singers who eat broken glass for breakfast.  
Used in conjunction with the LOW CUT [33] switch,  
you can boost the LOW EQ without injecting a ton of  
subsonic debris into the mix. We recommend using the  
LOW CUT feature on all channels, except low frequency  
signals, like kick drums and bass guitars.  
Stereo Sources  
The MID EQ , or midrange,” has a fixed bandwidth of  
1 octave. The MID knob sets the amount of boost or cut,  
up to 15 dB, and is effectively bypassed at the center  
detent. The frequency knob sets the center frequency,  
sweepable from 100 Hz to 8 kHz.  
Your life will be easier if you follow this standard con-  
vention: 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.  
+15  
+15  
+10  
+10  
+5  
0
+5  
0
CONSTANT LOUDNESS ! ! !  
–5  
–5  
10  
15  
10  
15  
The 1604-VLZ3’s PAN controls employ a de-  
sign called Constant Loudness.” It has noth-  
ing 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).  
20  
Hz  
100  
Hz  
1kHz  
10kHz 20kHz  
20  
Hz  
100  
Hz  
1kHz  
10kHz 20kHz  
Most of the root and lower harmonics that define a  
sound are located in the 100 Hz–8 kHz frequency range,  
and you can create drastic changes with these two  
knobs. Many engineers use MID EQ to cut midrange  
frequencies, not boost them. One popular trick is to set  
the MID fully up, turn the frequency knob until you find  
a point where it sounds just terrible, then back the MID  
down into the cut range, causing those terrible frequen-  
cies to disappear. Sounds silly, but it works. Sometimes.  
If you have a channel panned hard left (or right) and  
reading 0 dB, it must dip down about 4 dB on the left  
(or right) when panned center. To do otherwise, like  
those Brand X mixers, would make the sound appear  
much louder when panned center.  
+15  
The HI EQ provides you up  
+10  
to 15 dB boost or cut above 12  
kHz, and it is also flat at the  
detent. Use it to add sizzle to  
cymbals, an overall sense of  
transparency, or an edge to  
keyboards, vocals, guitar and  
bacon frying. Turn it down a little to reduce sibilance or  
to mask tape hiss.  
32. 3-BAND MID-SWEEP EQ  
+5  
0
The 1604-VLZ3 has a 3-band, mid-sweep equalization:  
LOW shelving at 80 Hz, MID sweep peaking from 100  
Hz to 8 kHz, and HI shelving at 12 kHz. Its probably  
all the EQ youll ever need! (Shelving means that the  
circuitry boosts or cuts all frequencies past the specified  
frequency. For example, the 1604-VLZ3’s LOW EQ boosts  
bass frequencies below 80 Hz and continuing down to  
the lowest note you never heard. Peaking means that  
certain frequencies form a hill” around the center  
frequency.)  
–5  
10  
15  
20  
Hz  
100  
Hz  
1kHz  
10kHz 20kHz  
With too much EQ, you can screw things up royally.  
Weve designed a lot of boost and cut into each equalizer  
circuit because we love you, and know that everyone  
will occasionally need that. But if you max the EQ on  
every channel, youll 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.  
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We recommend going into a stereo reverb in  
mono and returning in stereo. We have found  
that on most stereo” reverbs, the second  
33. LOW CUT  
This switch, often referred to as a high pass filter (all  
depends on how you look at it), cuts bass frequencies  
below 75 Hz at a rate of 18 dB per octave. This aint no  
thrown-in dime-store filter — an 18 dB per octave curve  
requires an elaborate circuit. Nothing but the best.  
input just ties up an extra aux send and adds  
nothing to the sound. There are exceptions, so feel free  
to try it both ways. Should you choose to use two aux  
sends, use the odd” AUX (1, 3 or 5) to feed its left input  
and the even” AUX (2, 4 or 6) to feed the right input.  
We recommend that you use this on every sound  
source except kick drum, bass guitar, bassy synth patch- Remember, if youre also dealing with a stereo source  
es, or recordings of earthquakes. These aside, there isnt signal, youll want to follow the sides — use the odd  
much down there that you want to hear, and filtering it  
out makes the low stuff you do want much more crisp  
and tasty. Not only that, but low cut can help reduce the  
possibility of feedback in live situations, and it helps to  
conserve amplifier power.  
AUX on the channel carrying the left side and the even  
AUX on the channel carrying the right.  
35. PRE  
This switch determines the tap point of AUX 1 and 2.  
Generally, “post” sends are used to feed effects devices,  
and pre” sends are used to feed your stage monitors.  
See the Pre vs. Post” diagram below. AUX 3 through 6  
are always in post mode.  
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 han-  
34  
dling clunks, wind noise and breath pops.  
LOW CUT removes all that debris so you  
can boost the LOW EQ without frying your  
woofer.  
MUTE  
PAN  
ASSIGN  
LOW  
CUT  
INPUT  
TRIM  
INSERT  
EQ  
FADER  
AUX 1  
'PRE' SIGNAL  
'POST' SIGNAL  
35  
36  
PRE SWITCH  
AUX 2  
Heres a frequency curve of LOW EQ  
combined with LOW CUT:  
In post mode (switch up), AUX 1 and 2 will follow the  
EQ [32], LOW CUT [33], FADER [25], and MUTE [30]  
settings. If you fade the channel, you fade the send. This  
is a must for effects sends, since you want the levels of  
your wet” signals to follow the level of the dry.”  
+15  
+10  
+5  
0
–5  
10  
15  
20  
Hz  
100  
Hz  
1kHz  
10kHz 20kHz  
In PRE mode (switch down), AUX 1 and 2 follow the  
GAIN and LOW CUT settings only. EQ, PAN, FADER, and  
MUTE settings have no effect on the PRE sends. This is  
the preferred method for setting up stage monitor feeds  
— theyll be controlled independently of the fader and  
mute moves.  
34. AUX 1, 2, 3, & 4  
These four knobs tap a portion of each  
channels signal, mix them together and  
send them to the AUX SEND [6] outputs.  
They are off when turned fully down,  
deliver unity gain at the center detent,  
and can provide up to 15 dB of gain turned  
fully up. Chances are youll never need this  
extra gain, but its nice to know its there if  
you do.  
36. 5/ 6 SHIFT  
Dont let the fact that theres only four AUX knobs per  
channel fool you — the 1604-VLZ3 has six AUX SENDs  
[6]. With this 5/6 SHIFT switch up, the knobs labeled  
AUX 3 and AUX 4 deliver their signals to AUX SEND 3  
33  
The AUX SEND outputs are then patched and 4 outputs. With this switch down, the signals appear  
to parallel effects processor inputs or  
stage monitor amp inputs. AUX SENDS 1  
and 2 levels are controlled not only by the  
channels AUX knobs, but also by the AUX  
SEND [49] master knobs.  
at the AUX SEND 5 and 6 outputs.  
We recommend that AUX SEND 3 and 4 be patched  
into your utilityeffects, like a short reverb and slap  
delay; effects you use all the time. Use AUX SEND 5 and  
6 for exotic” effects, like harmonizers and multi-tap  
AUX SENDS can also be used to generate delays; they are not likely to be used as often.  
separate mixes for recording or mix-mi-  
nuses” for broadcast. By using AUX 1 or 2  
in the PRE [35] mode, these mix levels can  
be obtained independently of a channels  
FADER [25] settings.  
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Output Section Description  
Youve just learned about the input channels and how  
the signals get in and out. The signals come in via MIC  
[1] and LINE [2] input jacks, are manipulated by the  
channels, and then sent to the output (master) section.  
Things get a little more complicated, so put on your  
thinking caps, take a deep cleansing breath, take this  
manual, get on a bycycle, ride down to the canal, ponder  
your life and all its unique experiences, then read this  
section.  
37. MAIN MIX FADER  
This fader controls the levels of signals sent to the  
MAIN OUT [14] jacks and TAPE OUTPUT [11] RCA  
jacks. All channels and STEREO RETURNs that are as-  
signed to the main mix, not muted and not turned fully  
down will appear at the MAIN OUTs. Before the main  
mix gets to this fader, the signals pass through the MAIN  
INSERT [13].  
The main mix signals are off with the fader fully down,  
the U” marking is unity gain, and fully up provides 10  
dB additional gain. This additional gain will typically  
never be needed, but once again, its nice to know its  
there. The fader itself is a stereo version of the chan-  
nel and subgroup faders — same supersmooth custom  
taper, same dead silence when turned fully down. This is  
the fader to pull down at the end of the song when you  
want The Great Fade-Out.”  
38. SUBGROUP FADERS  
As you might expect, these faders control the levels of  
signals sent to the SUB OUTS [8]. All channels that are  
assigned to subgroups with the ASSIGN [26] switches,  
not muted and not turned fully down will appear at the  
SUB OUTS. Unlike the MAIN OUT [14], the subgroup  
signals do not pass through an insert jack on their way  
to the subgroup faders. Thats no problem — should you  
want to send these signals through a serial effects pro-  
cessor, simply patch from the SUB OUTS to the effects  
input, and from the effects output to whatever the final  
destination is, usually a multitrack recorder.  
The subgroup signal is off when its fader is fully down,  
the U” marking is unity gain, and fully up provides 10  
dB additional gain. Remember that if youre treating  
two subgroups as a stereo pair, subgroup 1 and 2 for  
example, make sure that both subgroup faders ride”  
together, to maintain the left/right balance.  
39  
39. ASSIGN TO MAIN MIX  
One popular use of the subgroups is to use them as  
master faders for a group of channels on their way to  
the main mix. Lets say youve got a drum kit hogging up  
seven channels and youre going to want to fade them  
out at a different rate than the other channels. You dont  
want to try that with seven hands or seven fingers, so  
just un-assign these channels from LR, reassign them  
to subgroup 1–2, engage the ASSIGN TO MAIN MIX,  
LEFT on subgroup 1 and the ASSIGN TO MAIN MIX,  
RIGHT on subgroup 2. Now you can ride the entire  
stereo drum mix with two faders — 1 and 2.  
If you engage just one ASSIGN TO MAIN MIX switch  
per subgroup (LEFT or RIGHT), the signal sent to the  
main mix will be the same level as the SUB OUTS [8].  
38  
37  
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If you want the subgroup to appear in the center of the  
main mix, engage both the ASSIGN TO MAIN MIX, LEFT  
and RIGHT switches. The signal will be sent to both  
sides, and will be attenuated just enough to preserve  
constant loudness, just like the channel PAN [31] knobs  
when set in the center.  
41. TAPE TO MAIN MIX  
Engaging this switch is just like engaging the L-R  
switch on a channel — the signal, stereo in this case, is  
sent to the main mix. It does not interrupt other signals,  
just adds itself to them. This switch can be very handy  
in a live sound situation when you want to play soothing  
elevator music to an anxious crowd.  
40. TAPE IN (LEVEL)  
WARNING: Engaging TAPE TO MAIN MIX  
can create a feedback path between TAPE IN-  
PUT [12] and TAPE OUTPUT [11]. Make sure  
your tape deck is not in record, record-pause or input  
monitor mode when you engage this switch, or that the  
TAPE IN [40] level knob is turned fully down.  
This knob controls the level of the stereo signal com-  
ing from the TAPE INPUT [12] RCA jacks. Its range is  
off when fully down, unity at the center detent, with 20  
dB additional gain turned fully up, which may come in  
handy if youve patched in a device with wimpy output  
levels. After the level is determined, the stereo tape  
signal can be sent to either of two places — the main  
mix or the SOURCE [42] matrix .  
42. SOURCE  
Typically, the engineer sends the main mix to an  
audience or to a mixdown deck (if recording). But what  
if the engineer needs to hear something other than the  
main mix? With the 1604-VLZ3, the engineer has several  
choices of what to listen to. This is one of those tricky  
parts — have a double espresso first.  
Using these switches, you can choose to listen to any  
combination of MAIN MIX, SUBS 1-2, SUBS 3-4 and  
TAPE. Selections made here deliver stereo signals to  
the control room, headphones, and meter display. These  
signals are tapped off as follows — post-MAIN MIX  
FADER, post SUBGROUP FADERS [38], and post-TAPE  
IN [40] knob. With no switches engaged, there will be  
no signal at these outputs and no meter indication, with  
two exceptions: SOLO and STEREO RETURN 4.  
Regardless of the SOURCE matrix selection, engag-  
ing a SOLO switch will replace that selection with the  
SOLO signal, also sent to the control room, headphones,  
and meter display. This is what makes the Level-Setting  
Procedure so easy.  
Now you know how to select the signals you want to  
send to the engineers control room and/or phones. Once  
selected, these signals all pass through the same level  
control, aptly named:  
43  
42  
40  
41  
43. CTL ROOM/ PHONES  
As you might expect, this knob controls the levels  
of both the stereo control room, and the headphones.  
Make sure that you move it to minimum before selecting  
or adding a new source.  
46  
44  
45  
Whatever your selection, you can also use the control  
room outputs for other applications. The sound quality  
is just as impeccable as the main outputs. It can be used  
as an additional main mix output and this one will have  
its own level control. However, should you do this, be  
aware that if you engage a SOLO [27] switch, that will  
interrupt the mix:  
47  
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Engaging a SOLO switch will cause this dramatic turn  
of events: Any existing SOURCE matrix selections will  
be replaced by the SOLO signals, appearing in the con-  
trol room, headphones and meter display. The audible  
solo levels are controlled by the SOLO [46] level knob.  
The SOLO levels appearing on the meter display are  
not controlled by anything — you wouldnt want that.  
You want to see the actual channel level on the display,  
regardless of how loud youre listening.  
45. LEVEL SET LED  
To quote step 6 of the Level-Setting Procedure , Push  
in the MODE [44] switch in the output section (LEVEL  
SET (PFL) mode) — the LEVEL SET LED will light.”  
When the MODE switch is engaged, its in LEVEL  
SET (PFL) mode, the mode you must be in to set levels.  
Now, when you engage any solo switch, this LED will  
be a green light” to set levels. If you tried to set levels  
during NORMAL (AFL) mode, the meter display would  
be at the mercy of the channel fader, and that would be  
a big problem.  
44. MODE (NORMAL (AFL)/ LEVEL SET (PFL))  
The 1604-VLZ3’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).  
46. SOLO (LEVEL)  
This knob controls the level of the signals coming  
from the SOLO system. After the SOLO level is deter-  
mined, the SOLO signals will proceed to take over the  
control room, headphones, and meter display .  
In NORMAL (AFL), the soloed channels signal is sent  
directly to the control room, headphones and meter dis-  
play just as it would sound to the channels assignment  
switches: post-EQ [32], post-FADER [25] and post-PAN  
[31]. The only difference is that SOLO works regardless  
of the channels assignment positions, and that makes it  
really handy — you can check out a channel before you  
assign it.  
Once again, LEVEL SET (PFL) SOLO taps  
the channel signal before the fader. If you  
have a channels fader set way below U”  
(unity gain), LEVEL SET (PFL) SOLO wont know that  
and will send a unity gain signal to the control room,  
headphones, and meter display. This may result in a  
startling level boost at these outputs, depending on the  
position of the SOLO level knob.  
NORMAL (AFL) is the preferred mode during mix-  
down: If the channel has some midrange boost at  
4.236kHz, is panned a smidgen to the left, and its fader  
is at –5.385dB, thats exactly what youll hear if you  
SOLO during NORMAL (AFL) mode. Its just as if you  
took the time to mute all the other channels.  
47. RUDE SOLO LIGHT  
This flashing LED (light emitting diode) serves two  
purposes — to remind you that youre in SOLO, and to  
let you know that youre mixing on a Mackie. No other  
company is so concerned about your level of SOLO  
awareness. We even force the soloed channels 20 LED  
to play along, so you can find that rogue switch fast.  
LEVEL SET (PFL) solo is the key player in the all-im-  
portant Level-Setting Procedure . Itll send the chan-  
nels actual internal levels to the meters so youll know  
just whats going on, level-wise. This procedure should  
be performed every time a new sound source is patched  
into a channels MIC [1] or LINE [2] input jacks.  
If you work on a mixer that has a SOLO function with  
no indicator lights, and you happen to forget youre in  
SOLO, you can easily be tricked into thinking that some-  
thing is wrong with your mixer. Hence the RUDE SOLO  
LIGHT. Its especially handy at about 3:00 in the morn-  
ing, when no sound is coming out of your monitors, even  
though your multitrack is playing back like mad.  
LEVEL SET (PFL) is also the preferred mode for SR  
(sound reinforcement, or live sound), to preview chan-  
nels before they are let into the mix. It wont give you  
stereo placement, but will give you signal even if the  
fader is turned down.  
Remember, LEVEL SET (PFL) taps the  
channel signal before the fader. If you have  
a channels fader set way below U” (unity  
gain), SOLO wont know that and will send a unity gain  
signal to the control room, headphones, and meter dis-  
play. That may result in a startling level boost at these  
outputs, depending on the position of the SOLO [46]  
level knob.  
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48. METERS  
Meters vs. Reality  
The 1604-VLZ3’s peak metering system is made up of  
two columns of twelve LEDs. Deceptively simple, con-  
sidering the multitude of signals that can be monitored  
by it. If nothing is selected in the SOURCE [42] matrix,  
and no channels are in SOLO [27], the meter display  
You may already be an expert at the world of +4(+4  
dBu=1.23 V) and 10” (10 dBV=0.32 V) operating  
levels. Basically, what makes a mixer one or the other  
is the relative 0 dB VU (or 0 VU) chosen for the meter  
display. A +4” mixer, with a +4 dBu signal pouring out  
will just sit there. To put them to work, you must make a the back will actually read 0 VU on its meter display.  
selection in the SOURCE matrix (or engage a channel's A 10” mixer, with a –10 dBV signal trickling out, will  
SOLO switch).  
read, you guessed it, 0 VU on its meter display. So when  
is 0 VU actually 0 dBu? Right now!  
Why? You want the meter display to reflect what the  
engineer is listening to, and as weve covered, the engi-  
At the risk of creating another standard, Mackies  
neer is listening either to the control room output or the compact mixers address the need of both crowds by  
headphones. The only difference is that while the listen- calling things as they are: 0 dBu (0.775 V) at the output  
ing levels are controlled by the CTL ROOM/PHONES  
[43] knob, the meter display reads the SOURCE mix  
shows as 0 VU on the meter display. What could be  
easier? By the way, the most wonderful thing about stan-  
before that control, giving you the real facts at all times, dards is that there are so many to choose from.  
even if youre not listening at all.  
Thanks to the 1604-VLZ3’s wide dynamic range, you  
When the solo MODE [44] switch is set to LEVEL SET can get a good mix with peaks flashing anywhere be-  
(PFL) (down) , all soloed signals will be sent to the left tween –20 and +10 dB on the meter display. Most ampli-  
meter only. That, combined with the LEVEL SET LED  
[45], are along the path of enlightenment known as  
fiers clip at about +10 dB, and some recorders arent so  
forgiving either. For best real-world results, try to keep  
the Level-Setting Procedure (page 3). During NORMAL your peaks between 0” and +7.”  
(AFL) mode, the meters will behave normally.  
Please remember: Audio meter displays are just tools  
to help assure you that your levels are in the ballpark.”  
You dont have to stare at them (unless you want to).  
If you find that staring at the meters sends you into a  
hypnotic trance, please do not be alarmed. Just cut my  
lawn and polish my car every Tuesday.  
43  
48  
42  
45  
44  
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These knobs go from off (turned fully down), to unity  
gain at the center detent, with 10 dB of extra gain  
(turned fully up). As with some other level controls, you  
may never need the additional gain, but if you ever do,  
youll be glad you bought a Mackie.  
This is usually the knob you turn up when the lead  
singer glares at you, points at his stage monitor, and  
sticks his thumb in the air. (It would follow suit that if  
the singer stuck his thumb down, youd turn the knob  
down, but that never happens.)  
52  
49  
50  
51  
51  
50. AUX SENDS SOLO  
Once again, in live sound situations AUX SEND 1 and  
2 are likely to feed your stage monitors. Youll want to  
check the mix youre sending them, and thats what  
these two buttons are for. (AUX 3 through AUX 6 have  
no such switch.) Beside each switch is a green LED  
that, just like the channels 20 LED [28], helps you  
find the rogue SOLO switch.  
54  
56  
53  
55  
The only thing different about AUX SENDS SOLO is  
that its not really PFL (pre-fader listen), and its not  
really SIP (solo-in-place), its actually AFL (after-fader  
listen). During NORMAL (AFL) [44] mode , youll  
get AUX SEND 1s solo signal, post-AUX SENDS [49]  
master level, in the left side of the control room outputs,  
phones output and meter display, and AUX SEND 2 on  
the right side. (If you ever use AUX 1 and 2 to create a  
stereo monitor mix, youll understand why.) In LEVEL  
SET (PFL) mode, youll get the signal dead-center, but  
still post-AUX SENDS master level.  
AUX TALK  
SENDS are outputs, RETURNS are inputs. Each  
channel's AUX [34] knobs tap the signal off the channel  
and send it to the AUX SEND [6] outputs. AUX 1 and 2  
are sent to the AUX SENDS 1 and 2 [49] master knobs  
before the AUX SEND outputs; AUX 3 through 6 are sent  
directly.  
51. STEREO RETURNS (LEVEL)  
These outputs can be fed to the inputs of a reverb or  
other device. From there, the outputs of the external  
device are fed back to the mixers STEREO RETURN [7]  
inputs. Then these signals are sent through the STEREO  
RETURN [51] level controls, and finally delivered to the  
main mix.  
These four controls set the overall level of effects  
received from the STEREO RETURN [7] input jacks.  
These controls are designed to handle a wide range of  
signal levels — each knob goes from off, to unity gain at  
the detent, to 20 dB gain fully clockwise, to compensate  
for low-level effects. Signals passing through these level  
controls will proceed directly to the MAIN MIX FADER  
[37], with exceptions that well discuss in a moment.  
So, the original drysignals come from the channels  
to the main mix, and the affected wet” signals come  
from the STEREO RETURNS to the main mix, and once  
mixed together, the dry and wet signals combine to cre-  
ate a glorious sound. Armed with this knowledge, lets  
visit the Auxiliary World:  
Typically, these knobs can just live at the center  
detent, and the effects devices output control should  
be set at whatever they call unity gain (check their  
manual). If that turns out to be too loud or too quiet,  
adjust the effects devices outputs, not the mixer. That  
way, the mixers knobs are easy to relocate at the center  
detent.  
49. AUX SENDS (MASTER)  
These knobs provide overall level control of AUX  
SENDS 1 and 2, just before theyre delivered to their  
AUX SEND [6] outputs. This is perfect for controlling  
the level of stage monitors, since youll be using AUX 1  
and 2 for this, with their PRE [35] switches engaged.  
AUX SENDS 3 through 6 have no such control — theyll  
just send their mixes directly to their respective AUX  
SEND outputs at unity gain.  
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53. MAIN MIX TO SUBS (STEREO RETURN 3)  
With this switch up, STEREO RETURN 3 behaves like  
all the others — it delivers a stereo signal, regulated  
by its level knob, to the main mix. When you engage  
this switch, the signals are removed from the main mix  
buses and sent to the 1-2/3-4 switch, which diverts the  
signal once more. Were not finished. Please read on.  
54. 1–2/ 3–4 (STEREO RETURN 3)  
49  
50  
If the MAIN MIX TO SUBS [53] switch is disengaged,  
this switch does absolutely nothing. Lets now assume  
its engaged. STEREO RETURN 3s stereo signal will not  
be sent to the main mix, but to subgroup faders 1 and 2  
(this switch up) or subgroup faders 3 and 4 (this switch  
down).  
52  
51  
51  
54  
53  
55  
Lets say youve made a stereo drum submix on sub-  
group faders 1 and 2, so you can ride those two faders  
instead of the seven channels that the drums came  
from. Subgroup fader 1 has its ASSIGN TO MAIN MIX  
[39], LEFT button engaged and subgroup fader 2 has its  
ASSIGN TO MAIN MIX, RIGHT button engaged, blend-  
ing the drum submix back into the main mix. The drum  
channels are also sending signals to your reverb via the  
AUX SENDS [6], and the reverb outputs are patched  
into STEREO RETURN 3 [7]. So far so good.  
56  
52. TO AUX 1 and TO AUX 2  
Even though you could send STEREO RETURN 3 di-  
rectly to the main mix (MAIN MIX TO SUBS [53] switch  
up), you dont want to. Instead, engage the MAIN MIX  
TO SUBS switch and make sure the 1–2/3–4 switch is  
up. Now the reverb return will be blended into the drum  
submix, and as you ride those two faders, the reverb  
level will follow.  
If you want to add reverb or delay to the stage monitor  
mixes, these are the knobs for you. Operating indepen-  
dently of their respectively numbered STEREO RE-  
TURNS [51] level controls, these knobs are exactly the  
same as the channel strip AUX 1 [34] and AUX 2 knobs.  
These two knobs feed stereo return signals to their  
respective AUX SEND [6] outputs:  
Why do we want that? Because if you had just sent the  
reverb directly to the main mix (MAIN MIX TO SUBS  
switch up) and you did a drum fade-out using subgroup  
faders 1 and 2, the drysignals would fade out, but the  
“wet” signals would keep on singing. All you would hear  
is the drum reverb (the wet), and none of the original  
drum signals (the dry). Thats because the reverb is  
being fed by the channels AUX sends, and they have no  
TO AUX SEND 1 feeds STEREO RETURN 1 to AUX  
SEND 1 master, and:  
TO AUX SEND 2 feeds STEREO RETURN 2 to AUX  
SEND 2 master.  
They are off when turned fully down, deliver unity  
gain at the center detent, and can provide up to 15 dB of idea that youve pulled down the subgroup faders. Thats  
gain turned fully up. STEREO RETURN 3 and 4 have no why we threw in these switches, phew!  
such knobs.  
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55. C-R/ PHNS ONLY (STEREO RETURN 4)  
Once again, the default for all the STEREO RETURNS  
is to feed them directly into the main mix. Youve just  
learned about the optional exceptions involving STE-  
REO RETURN 3.  
STEREO RETURN 4 also has an optional exception:  
By engaging this switch, you will remove STEREO  
RETURN 4s stereo signal from the main mix and send it  
directly to the CTL ROOM/PHONES SOURCE [42] ma-  
trix. It matters not if any of the SOURCE matrix switch-  
es are assigned, but it will be interrupted, as usual, if a  
SOLO [27] switch is engaged.  
Lets pretend youre doing a live mix to a 2-track deck,  
a house PA, or both, and you want to play along to a  
click track. You could run the click track directly into  
the main mix, but you dont want the mixdown deck  
and/or audience to hear it. By gum, this is the switch  
for you. Similarly, it can be used for voice-over tracks,  
narration, anything you want heard by the engineer and  
players but not by the audience and mixdown deck.  
56. RETURNS SOLO and LED  
This switch operates just like the channel SOLO [27]  
switches — engaging it sends signals to the control  
room, headphones, and meter display, and interrupts  
whatever happened to be there before you soloed. It  
follows the MODE [44] switch setting as well. The only  
difference is that when you engage this RETURNS SOLO  
switch, it sends all four STEREO RETURNS signals to  
the SOLO circuit.  
Assume you want to solo the snare drum. Hit that  
channels SOLO switch, and you get the dry(no  
effects) snare only. That helps, but you want to hear  
it with the reverb you have patched into a STEREO  
RETURN. Leaving that channels SOLO switch engaged,  
also engage the RETURNS SOLO switch, and now youll  
get the dry snare and its reverb.  
Since it is a global feature, youll also get the signals  
from all the other STEREO RETURNS, so there may be  
some sounds that you didnt want to hear. If they offend  
your sensibilities, simply turn down the levels of the  
STEREO RETURNS you dont want to hear, or MUTE  
the channels feeding the unwanted signal to the effects  
device you do want to hear.  
Congratulations! Youve just read about all the fea-  
tures of your 1604-VLZ3. Youre probably ready for a cold  
one. Go ahead. The rest of the manual can wait.  
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Appendix A: Service Information  
Warranty Service  
Details concerning the Limited Warranty are spelled  
out on page 35 of this manual.  
Repair  
Service for Mackie products is available at a factory-  
authorized service center. Service for Mackie products  
living outside the United States can be obtained through  
local dealers or distributors.  
If you think your 1604-VLZ3 has a problem, please  
check out the following troubleshooting tips and do your  
best to confirm the problem. Visit the Support section of If your 1604-VLZ3 needs service, follow these instructions:  
our website (www.mackie.com) where you will find lots  
1. Review the preceding troubleshooting suggestions.  
of useful information such as FAQs, documentation and  
Please.  
user forums. You may find the answer to the problem  
without having to send your mixer away.  
2. Call Tech Support at 1-800-898-3211, 7 am to 5 pm  
PST, to explain the problem and request a Service  
Request Number. Have your serial number ready.  
You must have an Service Request Number before  
you can obtain warranty service.  
Troubleshooting  
Bad Channel  
3. Keep this owners manual and the detachable line-  
cord. We dont need them to repair the unit.  
Are the channels assigned to the correct mix  
(1-2, 3-4, L-R )?  
4. Pack the unit in its original package, including end-  
caps and box. This is VERY IMPORTANT. Mackie is  
not responsible for any damage that occurs due to  
non-factory packaging.  
Is the fader up?  
Try unplugging any insert devices from the  
INSERT jacks.  
5. Include a legible note stating your name, shipping  
address (no P.O. boxes), daytime phone number,  
Service Request Number, a copy of your sales  
receipt, and a detailed description of the problem,  
including how we can duplicate it.  
Try the same source signal in another channel,  
set up exactly like the suspect channel.  
Bad Output  
Is the level control (if any) turned up?  
6. Write the Service Request Number in BIG PRINT  
on top of the box. Units sent without the SR number  
will be refused.  
If youre listening to the C-R OUTS or PHONES  
outputs, has a SOURCE selection been made?  
If its one of the MAIN OUTS, try unplugging its  
companion. For example, if its the 1/4" LEFT  
MAIN OUT, unplug the RCA output. If the prob-  
lem goes away, its not the mixer.  
7. Tech Support will tell you where to ship the unit for  
repair. We suggest insurance for all forms of cart-  
age.  
8. You will need to contact the authorized service  
center for their latest turn-around times. The unit  
should be packaged in its original packing box, and  
must have the Service Request Number on the box.  
Once its repaired, the authorized service center  
will ship it back by ground shipping, pre-paid (if it  
was a warranty repair).  
If its a stereo pair, try switching them around.  
For example, if a left output is presumed dead,  
switch the left and right cords, at the mixer  
end. If the problem stays on the left, its not the  
mixer.  
Unplug everthing from the MAIN INSERTS.  
Note: Under the terms of the warranty, you must ship or  
drop-off the unit to an authorized service center.  
The return ground shipment is covered for those  
units deemed by us to be under warranty.  
Noise  
Turn the channel faders and STEREO RETURN  
knobs down, one by one. If the sound disap-  
pears, its either that channel or whatever is  
plugged into it, so unplug whatever that is. If  
the noise disappears, its from your whatever.  
Note: You must have a sales receipt from an authorized  
Mackie dealer for your unit to be considered for  
warranty repair.  
Power  
Unplug the power cord and check the fuse.  
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Appendix B: Connections  
XLR” Connectors  
You can cook up your own adapter for a stereo  
microphone adapter. Ytwo cables out of a  
female 1⁄4" TRS jack to two male XLR plugs,  
one for the Right signal and one for the Left.  
Mackie mixers use 3-pin female XLR” connectors on  
all microphone inputs, with pin 1 wired to the grounded  
(earthed) shield, pin 2 wired to the high” (hot” or  
positive polarity) side of the audio signal and pin 3  
wired to the low” (cold” or negative polarity) side of  
the signal. See Figure A. This is all totally aboveboard  
and in full accord with the hallowed standards dictated  
by the AES (Audio Engineering Society).  
Balanced mono circuits. When wired as a bal-  
anced connector, a 1⁄4" TRS jack or plug is con-  
nected tip to signal high (hot), ring to signal  
low (cold), and sleeve to ground (earth).  
Unbalanced Send/Return circuits. When wired  
as send/return Yconnector, a 1⁄4" TRS jack  
or plug is connected tip to signal send (output  
from mixer), ring to signal return (input back  
into mixer), and sleeve to ground (earth).  
Use a male XLR”-type connector, usually found on the  
nether end of what is called a mic cable,” to connect to  
a female XLR jack.  
2
SHIELD  
HOT  
14" TS Phone Plugs and Jacks  
“TS” stands for Tip-Sleeve, the two connections avail-  
able on a mono” 1⁄4" phone jack or plug. See Figure C.  
1
3
1
COLD  
SHIELD  
3
COLD  
2
HOT  
SLEEVE  
SLEEVE  
TIP  
SHIELD  
COLD  
HOT  
1
2
3
TIP  
TIP  
SLEEVE  
Figure A: XLR Connectors  
Figure C: TS Plug  
14" TRS Phone Plugs and Jacks  
“TRS” stands for Tip-Ring-Sleeve, the three  
connections available on a stereo” 14" or balanced”  
phone jack or plug. See Figure B.  
TS jacks and plugs are used in many different  
applications, always unbalanced. The tip is connected to  
the audio signal and the sleeve to ground (earth). Some  
examples:  
Unbalanced microphones  
RING SLEEVE  
TIP  
SLEEVE RING TIP  
Electric guitars and electronic instruments  
Unbalanced line-level connections  
RING  
TIP  
Switched 14" Phone Jacks  
SLEEVE  
Figure B: 14" TRS Plugs  
Switches can be incorporated into 1⁄4" phone jacks,  
which are activated by inserting the plug. These switch-  
es may open an insert loop in a circuit, change the input  
routing of the signal or serve other functions. Mackie  
uses switches in the channel insert and bus insert jacks,  
input jacks and AUX returns. We also use these switches  
to ground the line-level inputs when nothing is plugged  
into them.  
TRS jacks and plugs are used in several different ap-  
plications:  
Stereo Headphones, and rarely, stereo micro-  
phones and stereo line connections.  
When wired for stereo, a 1⁄4" TRS jack or plug  
is connected tip to left, ring to right and sleeve  
to ground (earth). Mackie mixers do not  
directly accept 1-plug-type stereo microphones.  
They must be separated into a left cord and a  
right cord, which are plugged into the two mic  
preamps.  
In most cases, the plug must be inserted fully to  
activate the switch. Mackie takes advantage of this in  
some circuits, specifying circumstances where you are  
to insert the plug only partially. See Special Mackie  
Connections, on the next page.  
27  
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RCA Plugs and Jacks  
Special Mackie Connections  
RCA-type plugs (also known as phono plugs) and  
jacks are often used in home stereo and video equip-  
ment and in many other applications (Figure D). They  
are unbalanced and electrically identical to a 1⁄4" TS  
phone plug or jack. See Figure C. Connect the signal to  
the center post and the ground (earth) or shield to the  
surrounding basket.”  
The balanced-to-unbalanced connection has been  
anticipated in the wiring of Mackie jacks. A 14" TS plug  
inserted into a 14" TRS balanced input, for example,  
will automatically unbalance the input and make all the  
right connections. Conversely, a 14" TRS plug inserted  
into a 14" unbalanced input will automatically tie the  
ring (low or cold) to ground (earth).  
TRS Send/Receive Insert Jacks  
SLEEVE TIP SLEEVE TIP  
Mackies single-jack inserts are the three-conductor,  
TRS-type 1⁄4" phone. They are unbalanced, but have  
both the mixer output (send) and the mixer input  
(return) signals in one connector. See Figure E.  
Figure D: RCA Plug  
SEND to processor  
Unbalancing a Line  
ring  
tip”  
(TRS plug)  
tip  
sleeve  
In most studio, stage and sound reinforcement situ-  
ations, there is a combination of balanced and unbal-  
anced inputs and outputs on the various pieces of  
equipment. This usually will not be a problem in making  
connections.  
This plug connects to one of the  
mixers Channel Insert jacks.  
ring”  
RETURN from processor  
Figure E  
The sleeve is the common ground (earth) for both  
signals. The send from the mixer to the external unit is  
carried on the tip, and the return from the unit to the  
mixer is on the ring.  
When connecting a balanced output to an  
unbalanced input, be sure the signal high (hot)  
connections are wired to each other, and that  
the balanced signal low (cold) goes to the  
ground (earth) connection at the unbalanced  
input. In most cases, the balanced ground  
(earth) will also be connected to the ground  
(earth) at the unbalanced input. If there are  
ground-loop problems, this connection may be  
left disconnected at the balanced end.  
Using the Send Only on an Insert Jack  
If you insert a TS (mono) 1⁄4" plug only partially (to  
the rst click) into a Mackie insert jack, the plug will  
not activate the jack switch and will not open the insert  
loop in the circuit (thereby allowing the channel signal  
to continue on its merry way through the mixer).  
When connecting an unbalanced output to a  
balanced input, be sure that the signal high  
(hot) connections are wired to each other. The  
unbalanced ground (earth) connection should  
be wired to the low (cold) and the ground  
(earth) connections of the balanced input. If  
there are ground-loop problems, try connecting  
the unbalanced ground (earth) connection only  
to the input low (cold) connection, and leaving  
the input ground (earth) connection discon-  
nected.  
This allows you to tap out the channel or bus signal  
without interrupting normal operation.  
If you push the 1⁄4" TS plug in to the second click, you  
will open the jack switch and create a direct out, which  
does interrupt the signal in that channel. See Figure F  
on the next page.  
NOTE: Do not overload or short-circuit the signal you  
are tapping from the mixer. That will affect the internal  
signal.  
In some cases, you will have to make up special  
adapters to interconnect your equipment. For  
example, you may need a balanced XLR female  
connected to an unbalanced 1⁄4" TS phone  
plug.  
28  
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A stereo signal, having two plugs, should be patched  
into the LEFT (MONO) and the RIGHT input or return  
jacks. A jack switch in the RIGHT jack will disable the  
mono function, and the signals will show up in stereo.  
MONO PLUG  
Channel Insert jack  
Direct out with no signal interruption to master.  
Insert only to first click.”  
A mono signal connected to the RIGHT jack will show  
up in the right bus only. You probably will only want to  
use this sophisticated effect for special occasions.  
MONO PLUG  
Channel Insert jack  
Mults and “Y”s  
Direct out with signal interruption to master.  
Insert all the way in to the second click.”  
A mult or Y connector allows you to route one output  
to two or more inputs by simply providing parallel wir-  
ing connections. You can make Ys and mults for the  
outputs of both unbalanced and balanced circuits.  
STEREO  
PLUG  
Channel Insert jack  
Remember: Only mult or Yone output into  
several inputs. If you need to combine several  
outputs into one input, you must use a mixer,  
not a mult or a Y.”  
For use as an effects loop.  
(TIP= SEND to effect, RING = RETURN from effect.)  
Figure F  
Mackie Stereo Inputs and Returns: Mono,  
Stereo, Whatever  
Stereo line inputs and stereo returns are a fine  
example of the Mackie philosophy (which we just made  
up) of Maximum Flexibility with Minimum Headache.  
The inputs and returns will automatically be mono or  
stereo, depending upon how you use the jacks. Heres  
how it works:  
A mono signal should be patched into the input or  
return jack labeled Left (MONO). The signal will be  
routed to both the left and right sides of the return  
circuit, and will show up in the center of the stereo pair  
of buses its assigned to, or it can be panned with the  
PAN control.  
RING (IN)  
RING  
(RETURN)  
TIP  
(SEND)  
RING (RETURN)  
TIP (OUT)  
TO MIXER  
CHANNEL INSERT  
FROM  
PROCESSOR  
OUTPUT  
TO  
PROCESSOR  
INPUT  
TIP (SEND)  
Y-cord insert cable  
Y-cord splitter cable  
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Appendix C: Technical Information  
Specifications  
Impedances  
Main Mix Noise  
Mic in:  
2.5 kilohms  
(20 Hz–20 kHz bandwidth, 1/4" Main out, channel gains @  
unity gain, channel EQs flat, all channels assigned to Main Mix,  
odd channels panned left, even channels panned right.)  
Channel Insert return:  
All other inputs:  
Tape out:  
2.5 kilohms  
10 kilohms or greater  
1.1 kilohms  
Main Mix fader unity, channel faders down:  
(92 dB Signal to Noise Ratio, ref +4 dBu)  
–88.5 dBu  
All other outputs:  
120 ohms  
Main Mix fader unity, channel faders @ unity: –82.5 dBu  
EQ  
Total Harmonic Distortion (THD)  
High Shelving  
Mid Peaking  
Low Shelving  
Low Cut Filter  
±15 dB @ 12 kHz  
±15 dB sweep 100 Hz–8 kHz  
±15 dB @ 80 Hz  
(1 kHz 35 dB gain, 20 Hz–20 kHz bandwidth)  
Mic in to insert send:  
Mic in to Main Out:  
<0.0007%  
<0.005%  
18 dB/octave, –3 dB @ 75 Hz  
Attenuation (Crosstalk)  
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth,  
Line in, 1⁄4" Main Out, Gain @ unity.)  
Power Consumption  
120 VAC, 50/60 Hz, 50 watts  
Channel Mute switch engaged:  
Channel Gain knob down:  
–84 dBu  
Fuse Ratings  
100–120 VAC  
220–240 VAC  
–84 dBu  
1A Slo Blo, 5 x 20 mm  
0.5A Slo Blo, 5 x 20 mm  
Frequency Response  
(Mic input to any output.)  
20 Hz to 60 kHz:  
Dimensions (H x W x D) in Normal Pod Position  
+0 dB/–1 dB  
+0 dB/–3 dB  
17.5" x 17.3" x 5.1" (445 mm x 440 mm x 129 mm)  
20 Hz to 100 kHz:  
Weight  
Equivalent Input Noise (EIN)  
(Mic in to Insert Send out, max gain.)  
150 ohm termination:  
20.0 lb (9.1 kg)  
–129.5 dBu  
LOUD Technologies Inc. is always striving to improve our prod-  
ucts by incorporating new and improved materials, components,  
and manufacturing methods. Therefore, we reserve the right to  
change these specifications at any time without notice.  
Common Mode Rejection Ratio (CMRR)  
(Mic in to Insert Send out, max gain.)  
“Mackie,” and the “Running Man” are registered trademarks of  
LOUD Technologies Inc. All other brand names mentioned are  
trademarks or registered trademarks of their respective hold-  
ers, and are hereby acknowledged.  
1 kHz:  
better than –70 dB  
Maximum Levels  
Mic in:  
+22 dBu  
+22 dBu  
+28 dBu  
+22 dBu  
The technical writer responsible for this manual tends to fade  
in and out of various different realities, depending on how  
many cups of tea he has had. Please check our website for any  
updates to this manual: www.mackie.com.  
All other inputs:  
Main Mix TRS out:  
All other outputs:  
©2007 LOUD Technologies Inc. All Rights Reserved.  
30  
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Dimensions  
19.0 in/ 48 3 mm  
(wit h Rack Ears fit t ed)  
5.1 in  
129 mm  
17.3 in/ 440 mm  
5.7 in  
146 mm  
(wit h Rack Ears fit t ed  
in upper posit ion)  
17.5 in  
445mm  
WEIGHT  
20.0 lb/  
9.1 kg  
9.4 in  
238 mm  
(wit h Rack Ears fit t ed  
in upper posit ion)  
Pod in normal position  
8 .7 in  
222 mm  
13.0 in  
330mm  
6.3 in  
Pod in back position  
5.7 in  
144 mm  
160 mm  
(wit h Rack Ears fit t ed  
in upper posit ion)  
(shown wit h  
opt ional Rot oPod)  
17.9 in  
446mm  
Pod in front (with optional RotoPod)  
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Track Sheet  
Session:  
Date:  
Notes:  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
G
3
1
2
4
5
6
7
8
9
10  
G
G
G
G
G
G
G
G
G
G
U
U
U
U
U
U
U
U
U
U
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
A
1
U
U
U
U
U
U
U
U
U
U
1
1
1
1
1
1
1
1
1
1
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
2
2
2
2
2
2
2
2
2
2
2
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
PRE  
PRE  
PRE  
PRE  
PRE  
PRE  
PRE  
PRE  
PRE  
PRE  
U
U
U
U
U
U
U
U
U
U
3
4
5
6
3
4
5
6
3
4
5
6
3
4
5
6
3
4
5
6
3
4
5
6
3
4
5
6
3
4
5
6
3
4
5
6
3
4
5
6
3
4
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
EQ  
E
HI  
HI  
HI  
HI  
HI  
HI  
HI  
HI  
HI  
HI  
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
12k  
12k  
12k  
12k  
12k  
12k  
12k  
12k  
12k  
12k  
-15  
-15  
100  
-15  
+15  
+15  
-15  
-15  
100  
-15  
+15  
+15  
-15  
-15  
100  
-15  
+15  
+15  
-15  
-15  
100  
-15  
+15  
+15  
-15  
-15  
100  
-15  
+15  
+15  
-15  
-15  
100  
-15  
+15  
+15  
-15  
-15  
100  
-15  
+15  
+15  
-15  
-15  
100  
-15  
+15  
+15  
-15  
-15  
100  
-15  
+15  
+15  
-15  
-15  
100  
+15  
+15  
MID  
MID  
MID  
MID  
MID  
MID  
MID  
MID  
MID  
MID  
800  
800  
800  
800  
800  
800  
800  
800  
800  
800  
200  
2k  
200  
2k  
200  
2k  
200  
2k  
200  
2k  
200  
2k  
200  
2k  
200  
2k  
200  
2k  
200  
2k  
2
8k  
8k  
8k  
8k  
8k  
8k  
8k  
8k  
8k  
8k  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
U
U
U
U
U
U
U
U
U
U
+15  
+15  
+15  
+15  
+15  
+15  
+15  
+15  
+15  
-15  
+15  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LO  
18  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
PAN  
P
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
1
2
3
4
5
6
7
8
9
10  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
M
OL  
OL  
OL  
OL  
OL  
OL  
OL  
OL  
OL  
OL  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
1 2  
1 2  
1 2  
1 2  
1 2  
1 2  
1 2  
1 2  
1 2  
1 2  
3 4  
3 4  
3 4  
3 4  
3 4  
3 4  
3 4  
3 4  
3 4  
3 4  
L - R  
L - R  
L - R  
L - R  
L - R  
L - R  
L - R  
L - R  
L - R  
L - R  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
TRACK  
TRACK  
1
2
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GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
GAIN  
14  
11  
12  
13  
15  
16  
G
G
G
G
G
G
U
U
U
U
U
U
12V  
0.5A  
0
60  
0
60  
0
60  
0
60  
0
60  
0
60  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
+15dB -45dB  
LAMP  
AUX  
AUX  
AUX  
AUX  
AUX  
AUX  
U
U
U
U
U
U
U
U
U
1
1
1
1
1
1
2
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +10  
U
O O +20  
U
O O +15  
U
2
2
2
2
2
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +10  
O O +20  
U
O O +15  
PRE  
PRE  
PRE  
PRE  
PRE  
PRE  
U
U
U
U
U
U
ASSIGN OPTIONS  
3
4
5
6
3
4
5
6
3
4
5
6
3
4
5
6
3
4
5
6
3
4
5
6
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +15  
U
O O +20  
U
-
C R / PHNS  
ONLY  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +15  
O O +20  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
5/6  
SHIFT  
Q
EQ  
EQ  
EQ  
EQ  
EQ  
LEFT RIGHT  
0 dB=0 dBu  
HI  
HI  
HI  
HI  
HI  
HI  
U
U
U
U
U
U
U
U
U
U
U
U
12k  
12k  
12k  
12k  
12k  
12k  
20  
10  
7
O O MAX  
O O +20  
TAPE IN  
-15  
-15  
100  
-15  
+15  
+15  
-15  
-15  
100  
+15  
+15  
-15  
-15  
100  
+15  
+15  
-15  
-15  
100  
+15  
+15  
-15  
-15  
100  
+15  
+15  
-15  
-15  
100  
-15  
+15  
+15  
CTL ROOM / PHONES  
U
MID  
MID  
MID  
MID  
MID  
MID  
4
2
TAPE  
TAPE TO  
MAIN MIX  
0
800  
800  
800  
800  
800  
800  
2
SUBS 1 2  
00  
2k  
200  
2k  
200  
2k  
200  
2k  
200  
2k  
200  
2k  
4
O O MAX  
SOLO  
8k  
8k  
8k  
8k  
8k  
8k  
LEVEL  
SET  
7
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
LOW  
80Hz  
U
U
U
U
U
U
SUBS 3 4  
10  
20  
30  
MAIN MIX  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
-15  
+15  
+15  
RUDE  
SOLO  
LIGHT  
OW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
LOW CUT  
75 Hz  
CTL ROOM  
SOURCE  
8dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
18dB/OCT  
AN  
PAN  
PAN  
PAN  
PAN  
PAN  
L
R
L
R
L
R
L
R
L
R
L
R
11  
12  
13  
14  
15  
16  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
MUTE  
OL  
OL  
OL  
OL  
OL  
OL  
dB  
dB  
10  
10  
5
U
5
U
-
20  
-
20  
-
20  
-
20  
-
20  
-
20  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
SOLO  
5
5
10  
10  
1 2  
1 2  
1 2  
1 2  
1 2  
1 2  
20  
30  
20  
30  
3 4  
3 4  
3 4  
3 4  
3 4  
3 4  
40  
50  
60  
40  
50  
60  
L - R  
L - R  
L - R  
L - R  
L - R  
L -  
R
O O  
O O  
O O  
O O  
O O  
O O  
O O  
O O  
TRACK  
TRACK  
TRACK  
TRACK  
TRACK  
TRACK  
3
4
5
6
7
8
33  
Owner’s Manual  
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BlockDiagram  
CR/PHN R  
CR/PHN L  
LOGIC  
PFL  
SIP R  
SIP L  
AUX 6  
AUX 5  
AUX 4  
AUX 3  
AUX 2  
AUX 1  
SUB 4  
SUB 3  
SUB 2  
SUB 1  
MAIN R  
MAIN L  
34  
1604-VLZ3  
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1604-VLZ3 Limited Warranty  
Please keep your sales receipt in a safe place.  
F. Any products returned to one of the LOUD Technologies  
A. LOUD Technologies Inc. warrants all materials,  
workmanship and proper operation of this product for a period  
of three years from the original date of purchase. If any defects  
are found in the materials or workmanship or if the product  
fails to function properly during the applicable warranty  
period, LOUD Technologies, at its option, will repair or replace  
the product. This warranty applies only to equipment sold and  
delivered within the U.S. by LOUD Technologies Inc. or its  
authorized dealers.  
factory-authorized service centers, and deemed eligible for  
repair or replacement under the terms of this warranty will  
be repaired or replaced within thirty days of receipt. LOUD  
Technologies and its authorized service centers may use  
refurbished parts for repair or replacement of any product.  
Products returned to LOUD Technologies that do not meet  
the terms of this Warranty will not be repaired unless  
payment is received for labor, materials, return freight,  
and insurance. Products repaired under warranty will be  
returned freight prepaid by LOUD Technologies to any  
location within the boundaries of the USA.  
B. Failure to register online or return the product registration  
card will not void the three-year warranty.  
C. Service and repairs of Mackie products are to be  
performed only at a factory-authorized facility (see D below).  
Unauthorized service, repairs, or modification will void this  
warranty. To obtain repairs under warranty, you must have a  
copy of your sales receipt from the authorized Mackie dealer  
where you purchased the product. It is necessary to establish  
the purchase date and determine whether your Mackie  
product is within the warranty period.  
G. LOUD Technologies warrants all repairs performed  
for 90 days or for the remainder of the warranty period.  
This warranty does not extend to damage resulting from  
improper installation, misuse, neglect or abuse, or to  
exterior appearance. This warranty is recognized only if  
the inspection seals and serial number on the unit have not  
been defaced or removed.  
H. LOUD Technologies assumes no responsibility for the  
quality or timeliness of repairs performed by an authorized  
service center.  
D. To obtain factory-authorized service:  
1. Call Mackie Technical Support at 800/ 898-3211, 7 AM to  
5 PM Monday through Friday (Pacific Time) to get a Service  
Request Number. Products returned without a Service Request  
Number will be refused.  
I. This warranty is extended to the original purchaser and to  
anyone who may subsequently purchase this product within  
the applicable warranty period. A copy of the original sales  
receipt is required to obtain warranty repairs.  
2. Pack the product in its original shipping carton. Also include  
a note explaining exactly how to duplicate the problem, a  
copy of the sales receipt with price and date showing, and  
your return street address (no P.O. boxes or route numbers,  
please!). If we cannot duplicate the problem or establish the  
starting date of your Limited Warranty, we may, at our option,  
charge for service time.  
J. This is your sole warranty. LOUD Technologies does  
not authorize any third party, including any dealer or  
sales representative, to assume any liability on behalf of  
LOUD Technologies or to make any warranty for LOUD  
Technologies Inc.  
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE  
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.  
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS  
AND IMPLIED, INCLUDING THE WARRANTIES OF  
MERCHANTABILITY AND FITNESS FOR A PARTICULAR  
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE  
SHALL BE STRICTLY LIMITED IN DURATION TO THREE  
YEARS FROM THE DATE OF ORIGINAL PURCHASE  
FROM AN AUTHORIZED MACKIE DEALER. UPON  
EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,  
LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER  
WARRANTY OBLIGATION OF ANY KIND. LOUD  
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY  
INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES  
THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE  
PRODUCT OR ANY WARRANTY CLAIM. Some states do  
not allow exclusion or limitation of incidental, special,  
or consequential damages or a limitation on how long  
warranties last, so some of the above limitations and  
exclusions may not apply to you. This warranty provides  
specific legal rights and you may have other rights which  
vary from state to state.  
3. Ship the product in its original shipping carton, freight  
prepaid to the authorized service center. The address of your  
closest authorized service center will be given to you by  
Technical Support.  
IMPORTANT: Make sure that the Service Request Number is  
plainly written on the shipping carton.  
No receipt: no warranty service.  
E. LOUD Technologies reserves the right to inspect any  
products that may be the subject of any warranty claims before  
repair or replacement is carried out. LOUD Technologies may,  
at our option, require proof of the original date of purchase in  
the form of a dated copy of the original dealers invoice or sales  
receipt. Final determination of warranty coverage lies solely  
with LOUD Technologies.  
35  
Owner’s Manual  
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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA  
United States and Canada: 800.898.3211  
Europe, Asia, Central and South America: 425.487.4333  
Middle East and Africa: 31.20.654.4000  
E-mail: sales@mackie.com  
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