Mackie Musical Instrument CR1604 User Manual

CR-1604 OWNER’S MANUAL

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SENSITIVITY

ADD 10dB FOR

MIC INPUTS

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MAINS

PHANTOM

+48V

UNBALANCED LINE INPUTS

AUX RETURNS

BALANCED/UNBALANCED LINE INPUTS

LOW BALANCED MICROPHONE INPUTS

BAL MAIN OUT

MONO

AUX OUTPUTS

ALT 3/4 OUT BUSS INSERT

CHANNEL ACCESS TIP=OUT RING=IN

LEFT

RIGHT

MONITOR

RIGHT

PHANTOM

MAINS

CR1604 16 CHANNEL MIC/LINE MIXER

LAMP 12 VAC

STEREO AUX RETURNS

AUX

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MON

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MONO

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AUX

SOLO

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SHIFT

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LEVEL

SHIFT

BALANCE

CR1604

16 CHANNEL MIC/LINE MIXER

CLIP

–15 +15

MID

ALT PREVIEW

–12 +12

MAIN OUTPUT

MUTE

-4

–15 +15

-8

-12

-16

-20

SOLO

MAIN

POWER

PAN

SOLO

LEVEL

SOLO

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

1/LEFT 2/RIGHT

LEVEL

SOLO/PHONES

+20

+10

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IF YOU IGNORE

CONTROLS

& FEATURES

DESCRIPTION OF CONTROLS

BEGINS ON PG. 4

MANUALS OR ARE JUST

HOT TO GET STARTED…

Please at least read the sections marked

INPUT

OUTPUT

POD

INPUT/ OUTPUT “POD”

SECTION DESCRIPTION, PG. 11

with these two icons:

Our

Engineering

Manager

thinks this

looks like a

bomb. But

actually it’s a

genuine Buck

Rogers-style

space ship.

QUICK

START

CONNECTION TIPS &

HOOKUP , PG. 15

HOOK

They cover information that is absolutely

critical or is unique to the CR-1604. But it’s

still a good idea to read the whole manual

through at some point. We worked and slaved

to make this manual readable, understand-

able and informative and it’s bound to have a

few nifty nuggets of knowledge you haven’t

picked up from the school of hard nox.

In particular, sections

LEVEL

SETTING

STEPS

DETAILED LEVEL-SETTING

PROCEDURE, PG. 19

marked with A CLOSER

LOOK icon include in-

depth information...or at

least our own opinions.

CHANGING

THE POD

POD ROTATION INSTRUCTIONS

PG. 20

TECH

STUFF

SERVICE, BLOCK DIAGRAM,

AND SPECS PG. 21-26

discerning musicians/recordists who have

found in this product the quality and perfor-

mance that has long been considered

If this is your first pro-mixer, please flip

through the whole book. If you’re a seasoned

pro, at least read the sections with “QUICK

START” or “VERY IMPORTANT” icons next to

them. (However, we’ve found that truly expe-

rienced engineers usually read their owner’s

manuals cover-to-cover anyway… so they can

continue to make those big bucks.)

The following chapters will take you on a

guided tour of your new mixer and explain

the inner workings of each control, as well as

how it relates to the rest of the mixer and

your particular application.

unattainable in this class and price range.

Okay, enough stroking. Time to dig in!

There are only two things that we ask:

Read this manual. Sounds obvious, but in all

the excitement that goes along with the pur-

chase of a new piece of gear the new owner

often neglects to become as familiar as they

should with the product, and as a result

runs the risk of missing out on many of the cool

features and convenience that it can offer.

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AUX

Part1— A GUIDED TOUR OF THE

CR-1604’S CONTROLS

00 +15

All the knobs and buttons on the CR-1604’s

MON

IMPORTANT

SENSITIVITY

ADJUSTMENT

PROCEDURE

front panel can be broken down into sixteen

identical input modules (channel strips) plus

one Master Output section that’s divided into

Aux Return and General Output sections (see

nifty diagram at right).

Each input channel strip can be divided

into four specific sections:

• The AUX SENDs, with knobs color-coded RED

• EQUALIZATION, color-coded BLUE

• PAN control, color-coded black, and

• the channel LEVEL CONTROL faders

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To fully achieve the

CR-1604’s impressive noise

and headroom specs, you should “tune” chan-

nel sensitivity of each channel to your

particular setup.

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5/6

SHIFT

Can you run the mixer without this adjust-

ment? Sure. Chances are that you’ll get pretty

good sound. But take a moment to adjust

things properly and you’ll get excellent sound.

After all, it’s your music.

Because we really want you to make this

adjustment, we’ve included a slightly more

detailed description of the process on page 19.

The basic procedure for adjustment is as

follows.

A. Set EQ controls approximately the way

they’ll be used for that channel. If you don’t

know in advance, just set them flat .

B. Turn the channel’s PAN control all the way

to either the right or left.

C. Set Channel Fader to Unity (center detent).

All modern mixing boards utilize some

variation of this input module arrangement.

Once you’ve mastered the CR-1604’s input

module layout, you should feel ready to take

on that old 132-channel Neve mixing desk

gathering dust in your Aunt Hattie’s garage.

–15 +15

MID

–12 +12

AUX SENDS

AUX 1, 2, 3 & 4

These controls are used to send the signal

out to outboard parallel effects processors

such as reverbs and delays. You may also use

an Aux Send to create a separate monitor mix

for stage monitors or headphone cues or gen-

erate separate mixes for recording.

There are a total of seven Aux Sends on

each CR-1604 channel strip. A combination of

four may be used at the same time.

NOTE: All of the

–15 +15

D. Turn the channel’s SENSITIVITY control

•

–10

fully counter clockwise (+4 UNITY).

–15 +15

15 ^–40

MID

E. Press the channel’s SOLO button and the

SOLO TO MAIN button over on the main

output section of the mixer.

F. Play through the channel at the same

volume and intensity that the channel is

going to handle during use. Turn the

channel’s SENSITIVITY control clockwise

until the level on the CR-1604 meter (left

or right side, depending on which way you

have the PAN set) reads around OdB.

CR-1604’s Aux sends have

a very wide range of gain.

The first half of the

control’s rotation reaches

–12 +12

•

–10

–15 +15

15 ^–40

CLIP

from the off position to Unity Gain (0dB).

This half of the control’s range corresponds to

the full range of a conventional mixer. The

second half of the control’s rotation provides

you with even more gain, from Unity to

+15dB. For example, when you want a sound

super-“wet” (mostly reverb), the extra gain al-

lows you to bring the channel fader down

(and the send way up) so that the sound is

composed of predominantly reverb return

with just a touch of “dry” signal.

PAN

SOLO

E ₉

MUTE

ALT 3/4

+20

G. Set the EQ the way you think you’ll want it,

-4

then repeat step F.

-8

H. Turn the channel’s SOLO button off and

return the PAN control to center detent

position.

I. Repeat this procedure for each channel,

using the appropriate kind of source which

will be used with that channel.

-12

-16

-20

AUX 1/ MON

This particular Aux control could be

viewed as the King of Sends, because of its

varied functions.

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PHANTOM

MAINS

CONTROLS

& FEATURES

CR1604 16 CHANNEL MIC/LINE MIXER

INPUT/ OUTPUT “POD”

LAMP 12 VAC

STEREO AUX RETURNS

AUX

00 +15

00 +20

MON

00 +20

00 +15

00 +20

MONO

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AUX

SOLO

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5/6

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5/6

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SHIFT

00 +20

LEVEL

SHIFT

BALANCE

CR1604

16 CHANNEL MIC/LINE MIXER

CLIP

—15 +15

MID

ALT PREVIEW

—12 +12

CHANNEL STRIPS

MAIN OUTPUT

MUTE

-4

—15 +15

-8

-12

-16

-20

SOLO

MAIN

POWER

PAN

SOLO

LEVEL

SOLO

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

1/LEFT 2/RIGHT

LEVEL

SOLO/PHONES

+20

+10

Send 1 may be routed to AUX OUT 1 which

AUX 3 & 4

taps the signal downstream from the EQ cir-

cuitry and Channel Fader (we call this

Post-Fader/Post-EQ, meaning that the signal

will reflect any adjustments made to the fader

or EQ controls.)

Send 1 can also be routed to the MONITOR

OUT by pressing the MON button. This signal

is intercepted ahead of the EQ circuitry and

Channel Fader (known as pre-EQ/pre-Fader…

the signal will be the same as it was when it

first entered the input module, unaffected by

the control adjustments made with the EQ or

fader controls).

These two sends are also post-EQ/post-Fader.

The “hidden” sends: 5 & 6

The 5/6 SHIFT button “converts” AUX 3

and 4 to AUX Sends 5 and 6. In other words,

after you press this button, signal is sent to

AUX 5 and AUX 6 but controlled by the AUX 3

and 4 Knobs. We did this to add the flexibility

of extra sends without making the mixer so

big that it looks like an airport landing strip.

WUTZA DEEE-TENT?

Occasionally in this

manual you will see a

reference to detents. A

detent is a simple but

effective control feature

that will aid in easy re-

setting of your mixers

controls. It’s simply a

notch in the movement

of the control compo-

nent, which determines a

neutral setting, such as

Unity on faders or center

on the PAN control. This

way you’re either in de

tent or out of de tent, as

we say when camping up

here in the Northwest.

To review

The CR-1604s Aux sends are used to route

a portion of the signal out to another source

for processing or sub-mixing. They allow you

to control how much effect is mixed with

each channel.

This arrangement allows for two separate

sends. You can use Send 1 on Channels 1–6 as

a stage monitor mix for vocals (with mic

inputs), and Send 1 on Channels 7–16 as a re-

verb send (with synth inputs, for example).

• All channel strips have four Aux sends

feeding a total of seven outputs.

AUX 2

• All sends are fully off in the extreme

counterclockwise position.

This send is Post EQ and Post Fader. Since

it’s affected by EQ and gain adjustments, we

recommend that it be used as your main

reverb send.

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• We recommend going into a stereo reverb

in mono and returning in stereo. We have

found that most “stereo” reverbs’ second

input just ties up an extra AUX send and

adds little or nothing to the sound.

formation is contained in this range, a little

midrange EQ goes a long way. It can increase

presence of a mix, enhance intelligibility of a

vocal or back off a strident instrument.

AUX

00 +15

MON

EQ LO

• All send buses are isolated from each other

and have separate mix amps.

15dB boost or cut at 80Hz. This control

affects the lower frequencies of your input sig-

nal. It can be used to put punch in bass drums,

bass guitar, fatten synth patches and add bot-

tom end to male vocals. Cutting the LO EQ

slightly can do wonders for muddy tracks and

boomy room acoustics as well as helping fix

poppy microphones.

00 +15

AUX SENDS AND LIVE MIXING

When using microphones in a

live performance, we recommend

that AUX 1 be set to MONITOR

position.

00 +15

In MONITOR mode, the signal

is taken ahead of the EQ and Fader circuitry.

When in AUX mode the signal will be taken down-

stream of the EQ and Fader circuitry. Remember

that this means that the signal will reflect any

changes brought about by settings made to EQ and

channel fader controls, but still can be used.

3 PAN

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5/6

SHIFT

This control positions a signal within the

stereo sound field. Also a way to “assign” a

channel to just left or right for sub-grouping

to the mono or ALT-3/4 outputs.

The Mackie CR-1604 incorporates constant-

power pan pots which maintain constant

acoustic power as you move the channel’s sig-

nal to left or right. This is a way cool feature

which is explained in detail on the next page.

Equalization Controls

These three controls offer you a surprising

amount of control over the sonic personality

of your mix (although they are not intended

to take the place of a parametric or ¹/3-octave

graphic equalizer).

Through the creative use of the CR-1604’s

EQ controls, samplers and other instruments

can be contoured to better reflect the real

world sound signature they are trying to emu-

late, mixes can be punched up, vocalists

rescued from obscurity, etc.

We’ve carefully selected different points for

our equalization and have used circuity which

provides an extremely “musical” effect. Some

heavy-duty pros have complemented us on

how useful they are. So before you immedi-

ately plug in an outboard equalizer, give the

controls a chance. If all you’ve used are con-

ventional small mixers, you’re in for a

pleasant surprise.

–15 +15

MID

–12 +12

LECTURE TIME:

CONCERNING EQUALIZATION

MODERATION: Proper EQ

can focus a mix. Improper EQ

can cause distortion. Too much

EQ results in mix mush.

–15 +15

The best EQ is none at all. In other words, in

live recording situations, you should start by se-

lecting the right mic, positioning it correctly and

recording in the right acoustic environment.

When mixing direct inputs, time spent on tweak-

ing with the synth patch, boldly going where the

tone module preset hasn’t been before or adjust-

ing the instrument’s own tone controls beats the

heck out of “saving it in the mix.”

Save the CR-1604’s EQ for solving problems

you can’t work out in advance — particularly in

live PA situations (where anything can happen

and probably will) or final mix where you’re going

for a particular overall sound.

EQ POINTS: Some of you may have probably no-

ticed that theCR-1604 does not have it’s EQ points in

the usual (Yawn) “standard” frequency locations.

Why? You may ask.

Well, the story goes that sometime in the Sixties,

“Zoltan” (Bureaucratic High Moron from the Drumless

planet of Vocal Frustration) descended upon the mix-

ing board designers in Countries to the East and

proclaimed the proper EQ points for mixers:

PAN

SOLO

MUTE

ALT 3/4

+20

EQ HI

15dB boost or cut at 12kHz. There is no effect

at the center detent position. This shelving con-

trol will affect the higher frequencies of the

incoming signal. By shelving, we mean that the

circuitry boosts or cuts all frequencies past the

specified point, instead of just creating a bump

or dip in response the way a graphic equalizer

would. Use this control to add sizzle to cymbals

and vocals and give a sense of transparency or

edge to keyboards and guitars. It can also be

turned down a little to reduce sssssibilance.

“10kHz for HF and 100Hz for LF”

We can’t figure out why. 100Hz is too high and

10kHz is too low. They might be holdovers from re-

ally ancient mixing boards or radio equipment

back in the days when recording bandwidth was a

lot narrower. It’s irrational and not founded on

any particular acoustic or musical principle...but

then, Zoltan never visited us.

Being musicians ourselves (and having cursed

Zoltanesque EQ in other boards for years), we de-

cided to start from scratch and determine the

points which sounded best from a musical stand-

point. It goes without saying that Zoltan was not

pleased with the Rebels From The Rainforest.

But we trust that you will be.

EQ MID

12dB boost or cut at 2.5 kHz with a 3.3

octave bandwidth (this is NOT a shelving

control). Because the majority of musical in-

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SOLO

• While a channel is in SOLO mode, its

signal level is sent to the CR-1604 Level

Meters in the Master Output section so

you can observe its working level. This

allows level setting for each individual

channel using just one meter pair.

• The SOLO indicator LED will also blink to

remind you that you are in the solo mode.

We designed it to be so obnoxiously bright

that you can get a suntan from it if you get

too close for too long. If you’ve ever used a

board with a tiny, obscure SOLO light, you

know why we made ours large and rude.

AUX

This control does just what it’s name im-

plies. By pushing the SOLO button, you can

listen in on only that channel while muting

the rest of the mixer’s output.

00 +15

MON

In order to make this function really useful,

we have designed the CR-1604’s SOLO section

to allow for multiple inputs to be soloed

together while retaining the original stereo

placement of each channel in the mix. This

feature is not often found outside of large mix-

ing consoles, even though it adds significant

application potential to the solo function.

• The effect of this button follows the setting

of the SOLO TO MAIN button (i.e. if SOLO

TO MAIN is pressed IN, the main and

headphone outputs are replaced with the

soloed signals. If it’s left in the OUT

position, only the headphones will get the

soloed signals).

00 +15

MUTE-ALT 3/ 4 (3rd & 4th buses)

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5/6

SHIFT

Think of this as a “mute button PLUS.”

First, it works in the conventional way:

push MUTE and that channel goes away, just

like you’d expect. But, we reasoned, why send

the channel’s output into the ozone when it

could go someplace useful? Such as another

set of output buses.

So when you press MUTE, the signal is

reassigned to the ALT 3/LEFT and 4/RIGHT

stereo outputs.

–15 +15

MID

IMPORTANT: The master level of the SOLO

signal is controlled by the HEADPHONE/

SOLO fader, not the master faders.

–12 +12

WHAT CONSTANT POWER

PAN POTS MEAN TO YOU

NOTE: There is no mas-

ter level control for the

ALT-3/4 buses. With the

channel set at Unity, the

–15 +15

When you sit between a pair

of monitors and pan from side to

side, the apparent loudness at

your ears should stay the same

signal will come out at

no matter where the source is positioned.

The CR-1604’s constant power pan pots are so

named because they incorporate special circuitry

that maintains consistent acoustic power while

panning center to side.

Unity gain just as if you had a master fader at

the center detent position.

PAN

There are lot of possibilities via the ALT

3/4 buses with the channel fader set at Unity.

Especially combined with the ALT PREVIEW

button over in the CR-1604’s Master Output

section. For example, you can create two

stereo pairs for output to 4-track. Or bounce

multiple tracks onto one or two more tracks.

Or preview a sound source that hasn’t been

introduced into the mix yet.

One of the most common applications for

ALT 3/4 is for creating submixes from various

combinations of channels. By panning one set

of channels hard left and another hard right,

you can create two submixes (one from the

LEFT ALT and one from the RIGHT ALT out-

put) that can be routed back into spare

channels on the board, or AUX returns. (See

page 16 for more details.)

SOLO

When the input module is set to the center de-

tent, what you will hear is equal amounts of both

left and right outputs.

MUTE

When the module is panned away from center,

you will begin to hear only one side. The side that

you are panning into must therefore grow louder to

make up for the loss of the other side. The effect is

a more realistic shift in dimensional perception

(Ooooo… sounds pretty cosmic, doesn’t it? )

Here is an example of how stereo sound be-

haves in real life, why you would want to duplicate

the same effect in your productions and how con-

stant power pan pots help:

Imagine that a sax player was standing in front

of you playing his horn. You get the same amount

of sound at both ears and your ear-brain process-

ing center sez, “This cat is right in front of me.”

Now the sax player moves to the left. More sound

arrives at your left ear and your brain sez , “He’s

over on the left.” But the total amount of sound ar-

riving at your ears is still the same.

Constant power pan pots do the same thing.

They move the sound, but don’t reduce the overall

amount of sound. Other small mixers don’t have

this feature. But like many other of the CR-1604’s

nifto-features, we wanted the mixer to perform to

the demanding standards of higher priced gear, so

that it could be used for professional recording,

broadcasting, and film sound where the need for

true panning integrity is often an unavoidable re-

ality. And low and behold, the CR-1604 IS being

used extensively by Hollywood pros for TV and

film sound tracks. End of commercial.

ALT 3/4

+20

6 OL

The OverLoad LED is a visual indicator

that warns you when you’re overdriving the

channel. Because it monitors multiple points

in the channel’s circuitry, it detects more

than just input overload.

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Basically, the OL lights should never blink.

If they do, you’re courting the potential of au-

dible distortion.

• If you adjust the channel’s input SENSI-

TIVITY too high and compensate by pulling

the faders down, the OL light will still flash

— even though you’re seeing conservative

levels on the meters.

• If you set SENSITIVITY properly but add a

LOT of EQ while mixing, you might also

trigger the OL indicator. In this case,

lowering the channel’s SENSITIVITY trim

pot will keep from over driving the EQ,

which may be clipping.

AUX

Part 2 — THE MAIN

OUTPUT SECTION

00 +15

Now that you have become more familiar

with the CR-1604’s channel strips, let’s move our

guided tour on to the Master control center.

We will start at the top of the section with

the Stereo Aux Returns.

MON

00 +15

STEREO AUX RETURNS LEVEL

Located at the upper left of the Master

Section, these four controls set the overall

level for signals received via the four stereo

Aux Returns from whatever effects you’ve

connected from the Aux Sends.

00 +15

5/6

SHIFT

CHANNEL FADER

As with the sends, these controls are de-

signed to handle a very wide range of signal

levels (which is a good thing considering the

wildly varying output levels of many outboard

signal processors). Remember how the gain

was divided on the Aux Send controls? The

same approach is used on these controls. The

first half of the knob’s rotation operates from

off to Unity Gain (0dB) center position. The

second half of the rotation provides gain from

0dB up to 20dB gain which can be very useful

for bringing the level of some low output ef-

fects up to professional operating levels.

Controls the overall output of the channel.

All of the AUX SENDS with the exception of

AUX 1/MON in Monitor mode are affected by

this control (AUX 1/MON in Monitor mode is

not affected because it is placed upstream of

the Fader and EQ, remember?)

Most mixer channel faders are labeled with

arbitrary and confusing ranges of digits (such

as 1 thru 10) that don’t correspond to any-

thing. This often leads to mis-adjustment, as

well as distortion, noise or all of the above.

On the CR-1604, proper gain settings are

facilitated by the click-detent Unity Setting

half way up the slider. When the channel’s in-

put control has been adjusted properly, Unity

represents NO LOSS OR GAIN when panned

left or right.

This means you have a known setting

which is easily repeatable, even in the dark.

Because levels can be set properly from this

reference point, you can achieve very high

headroom and low noise at the same time.

And, unlike any other mixer, you have 20dB

MORE gain above Unity.

–15 +15

MID

–12 +12

–15 +15

AUX RETURN BALANCE

The four Aux Return Balance controls are

used to control the left/right balance of each

return’s signal (just like on your stereo)

within the main mix.

PAN

SOLO

MUTE

ALT 3/4

AUX RETURN MONO

These four buttons are used to combine

left and right Stereo Aux Return signals into a

monaural signal, which is then sent on in

equal proportions to the left and right Master

Mix Buses.

+20

NOTE: If all four Stereo Aux Returns are

set to mono, a total of 8 separate mono feeds

can be routed to the main mix.

If you are connecting an effects device

which only has a mono out, pressing the AUX

RETURN MONO button will route the effect

to both the Left and Right main buses.

AUX RETURN SOLO

This button is used to solo the four Aux Re-

turns for more detailed scrutiny. This function is

the same as that of the Solo control on the

individual channel strips, except that it solos all

four AUX returns at the same time.

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down or click track in your headphones,

and then just before the down beat, UN-

mute the CR-1604.

STEREO AUX RETURNS

• For live performance intermissions, use

the MAIN OUTPUT MUTE to kill hum and

noise from the room and prevent drunken

head bangers from mounting the stage and

screaming the name of a rival band.

• When recording at home and the tele-

phone rings, hit the MAIN mute instead of

pulling down your main faders. Now you

can monitor that quality near field loud-

speaker in your answering machine and

decide whether or not to SOLO the caller.

00 +20

INPUT

OUTPUT

POD

00 +20

MONO

14 SOLO TO MAIN

AUX

SOLO

This switch determines what happens when

you press channel or Aux Return SOLO buttons.

• IN — The CR-1604’s Main output is

interrupted whenever a Solo

button is activated.

00 +20

LEVEL

BALANCE

• OUT — Only the Headphone

output is interrupted during solo

• The effect of this button follows the setting of

the SOLO TO MAIN button (i.e. if SOLO TO

MAIN is pressed IN, the phones and the

main output are replaced with the Aux

Return signals. If it’s left in the OUT position,

only the headphones will get the soloed Aux

Return signals).

12 _{ALT PREVIEW}

monitoring. This is great for live

work so that the sound person

can solo into his phones without

affecting the main mix. Sorry,

but this button is not effective

against poorly played or exces-

sively lengthy guitar solos. If the

problem persists, consult a

physician or perhaps try the

MUTE-ALT 3/4 on the offending

player’s channel.

MAIN OUTPUT

MUTE

SOLO

MAIN

ALT PREVIEW

This button allows all channels assigned

to the ALT 3/4 to be monitored through the

headphone output.

This can come in very

handy when you need to

hear a cue from one of the

tracks that is currently as-

• In the studio, SOLO TO MAIN

can allow you to listen to your

solo channels through the same

speakers that you use for the

mixdown if you are using the

Main Outputs for your control

room monitoring.

LEVEL

signed to the ALT 3/4 Bus

SOLO/PHONES

(Muted). All the inputs that are currently as-

signed to the ALT 3/4 output can be heard

through your headphones when the ALT PRE-

VIEW button is depressed.

You can also use this feature to monitor a

second mix if you have decided to hook up a

second tape deck to the ALT 3/4 outputs.

HEADPHONE JACK

The stereo PHONE jack will drive

any standard headphones. Walk-Per-

son-type mini phones can also be

used with an appropriate adaptor.

WARNING:

MAIN OUTPUT MUTE

This button mutes the main stereo and

mono outputs of the CR-1604. All other out-

puts are blissfully unaffected.

When we say the

headphone amp is

loud, we’re not

kidding. Even inter-

mediate levels may be unpleasantly

loud with some headphones. Be care-

ful, please!

• A useful application for this control is to

help reduce perceived noise from your

multitrack tape machine and musical

instruments prior to the start of the song.

Mute the mixer while monitoring the count

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Always turn the SOLO/PHONES LEVEL con- 17 1/ LEFT 2/ RIGHT

trol down before you put the phone on. Then

advance it for best levels with a typical sound

source. Engineers who fry their ears find

themselves with short careers.

(MAIN OUTPUT LEVEL FADERS)

This gallant team stands

guard over your precious

main output level. They pre-

You can also use the PHONES output to in-

dependently drive a separate tape recorder,

PA system or studio monitor amp. Instead of

using a low-cost “headphone amp” chip, we

use a high-current version of our main output

amplifier circuity — which is why it can re-

ally clean out your cochlea if you crank it up

too far. But that’s also what makes it a very

clean signal source that’s, in fact, identical to

the quality of the other outputs (see APPLI-

CATIONS GUIDE for various hookups which

use the PHONES output).

fer to be stationed below or

at the “U” (Unity) setting.

INPUT

OUTPUT

POD

The outputs on the other end are capable of de-

livering up to +28dBm. Many amplifiers or other

equipment inputs will go into clipping before

that. Consult the specs on your amplifier/device.

You may have to keep the CR-1604’s Main and

Phone faders below the Unity gain level.

LEVEL

This 10-segment meter reflects the “unbal-

anced” output signal strength at the left and

right main outputs.

• When the meter shows “0”, the unbalanced

output level is 0dBu (0.775 VAC RMS).

NOTE: When you press any SOLO button, a

slight click will be heard in the headphones

when a solo switch is activated.

16 SOLO/ PHONES LEVEL

• Remember that “balanced” output levels

are 6dB hotter than the level indicated on

the bar graph meter.

This control adjusts the Solo and Headphone

levels simultaneously. The control range is from

off to loud enough to cause a frontal lobotomy

(see warning on the

BNC LAMP CONNECTOR

The CR-1604 includes a socket and power

CLIP

previous page). Be-

supply for a 12-volt goose-neck lamp. We rec-

ommend LittleLite lamps PN #12G or 12G-HI

(with high-intensity bulb). Consult your

dealer for the gory details.

NOTE: When the CR-1604 has been “Roto-

podded” (pod jack to the front) the BNC lamp

connector becomes inaccessable.

This concludes our guided tour of the

CR-1604’s controls. After a short intermission,

we will re-board the bus (HA! Get it? Pun?

bus......? Oh well.) and explore the CR-1604’s

input/output “pod.”

ALT PREVIEW

cause SOLO/

PHONES LEVEL is

completely indepen-

dent of the Master

Faders, you can use

it to preview your

mix before fading up

the main outputs.

CAUTION: To

avoid speaker dam-

age, this control

should never be set

MAIN OUTPUT

MUTE

-4

-8

SOLO

-12

-16

-20

MAIN

POWER

SOLO

LEVEL

higher than the Main

Output (1/LEFT 2/

RIGHT) level prior to

activating the SOLO

TO MAIN button.

1/LEFT 2/RIGHT

LEVEL

SOLO/PHONES

+10

CR1604 16 CHANNEL MIC/LINE MIXER

LAMP 12 VAC

AUX

00 +15

MON

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

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Part 3 — INPUT/ OUTPUT POD

•

–10

SENSITIVITY

ADD 8dB FOR

MIC INPUTS

•

–25

–40

16 ^–25

15 ^–25

14 ^–25

13 ^–25

12 ^–25

11 ^–25

10 ^–25

MAINS

PHANTOM

+48V

UNBALANCED LINE INPUTS

AUX RETURNS

BALANCED/UNBALANCED LINE INPUTS

LOW BALANCED MICROPHONE INPUTS

BAL MAIN OUT

MONO

AUX OUTPUTS

ALT 3/4 OUT BUSS INSERT

CHANNEL ACCESS TIP=OUT RING=IN

LEFT

INPUT

OUTPUT

POD

RIGHT

MONITOR

RIGHT

OUTPUTS/ SENDS

INPUTS

RETURNS/ INSERTS

INPUT SENSITIVITY CONTROLS

• When using microphone XLR input jacks,

you will get 10dB more gain than what the

SENSITIVITY trim marking indicates.

The first set of items on our tour are the

sensitivity controls for the 16 input channels.

These knobs adjust the input sensitivity of the

mic and line inputs so signals from the out-

side world are brought into the mixer at

optimum internal operating levels. INPUT

SENSITIVITY controls for channels 1–6 have

up to 40dB of gain for line inputs and 50dB for

XLR inputs; controls for channels 7–16 have

25dB of gain. Note that all SENSITIVITY con-

trols are marked with a –10 setting. This is

the amount of gain needed to raise –10dBv

operating level equipment up to professional

+4dB levels.

21 PHANTOM POWER SWITCH

What is Phantom Power? No, it’s not the arch

enemy of Captain America or anything like that.

Most modern professional condenser mics are

equipped for Phantom Power, which lets the

mixer send DC power to the mic’s electronics

over the same wires that carry audio (hence

“phantom” since the DC voltage is “unseen” by dy-

namic and ribbon mics which don’t need external

power and are unaffected by it anyway).

•

–10

SENSITIVITY

ADD 8dB FOR

MIC INPUTS

•

–40

16 ^–40

15 ^–40

14 ^–40

13 ^–40

12 ^–40

11 ^–40

10 ^–40

PHANTOM

UNBALANCED LINE INPUTS

BALANCED/UNBALANCED LINE INPUTS

LOW BALANCED MICROPHONE INPUTS

MICROPHONE INPUTS (Channels1–6)

We use true phantom-powered, balanced in-

puts just like the big, studio mega-consoles for

the same reason they do: This kind of circuit is ex-

cellent at rejecting hum and noise. You can plug

in any kind of professional microphone that has a

standard “XLR-type male” mic connector, an im-

pedance of between 50 ohms and 600 ohms.

If you wire your own male XLR’s, connect them

like this:

NEED MORE THAN SIX MIC INPUTS?

Pin 2= Positive (+ or hot)

Pin 3 = Negative ( – or cold)

Pin 1 = Shield (ground)

We have determined that six mic inputs takes

care of most users’ needs. But if you’re miking a

complex drum kit, lots of vocalists or a complete

musical (our mixers have been used in several hit

Broadway shows, by the way), you can add the

XLR10 Mic Input Expander. It adds 10 more high

quality discrete, balanced preamplifiers just like

the ones on the CR-1604’s Channels 1–6. The unit

installs in minutes and forms an integral, struc-

tural part of the mixer (in pod-to-back or tabletop

configuration, it doesn’t take up any more rack

space either). Plus, you can still use the line in-

puts on the CR-1604’s Channel’s 7–16! Such a

deal. Ask your Mackie dealer for more details.

Basically, Inputs 1–6 will handle any kind of

mic level you can toss at them. Professional

ribbon, dynamic and condenser mics will all

sound excellent through these inputs —

especially if you follow the Level Setting in-

structions on page 19. Lower-cost electret-type,

unbalanced mics should be plugged into Inputs

7–16 but will require additional gain and thus

not be as quiet.

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•

–10

SENSITIVITY

ADD 8dB FOR

MIC INPUTS

•

–40

16 ^–40

15 ^–40

14 ^–40

13 ^–40

12 ^–40

11 ^–40

10 ^–40

PHANTOM

UNBALANCED LINE INPUTS

BALANCED/UNBALANCED LINE INPUTS

LOW BALANCED MICROPHONE INPUTS

• DC Power is applied to Pins 2 and 3. Maximum

current is 10mA per microphone.

• When turned off, the phantom power circuitry

takes a moment for voltage to bleed to zero. Do

not attempt to adjust your set.

INPUT

OUTPUT

POD

UNBALANCED INPUTS (Channels 7–16)

These inputs are designed for mono unbal-

• There is only one “freak” way to damage a

ribbon mic with phantom power. If the connec-

tor on the mic cable is worn, it may not make

contact with both “hot” pins exactly at the same

time when being plugged in. This could cause a

momentary DC spike that could, in turn,

damage or dislodge the ribbon. To avoid this

remote possibility, always plug in ribbon mics

before you turn the PHANTOM power switch

on or off.

WARNING: If you’re connecting electret-

type microphones, plug them into Channel

7–16. Avoid the temptation to use Channel

1–6 XLR sockets via ¹/4"-to-XLR adaptors

and then turn on the PHANTOM switch. If

you do, the microphone will be toast. Also,

don’t connect electronically balanced com-

ponents such as CD players or the output of

a tape deck to the XLR inputs. Use Channel

1–6 balanced ¹/4" inputs instead.

anced signals from instrument level to –10dBV or

+4dBu. They can be used with just about any pro

or semipro instrument, effect or tape recorder.

24 MAINS

If you leave this switch in the OFF position, you

won’t hear anything. You can leave the CR-1604’s

MAINS power switch ON all the time since the

mixer is conservatively designed so that heat

buildup isn’t a problem, even in 24-hour-a-day op-

eration. Or just plug everything into a good quality,

grounded power strip for 1-button turn-on.

If you leave it on all the time, don’t worry about

the top of the pod being warm to the touch. We use

the pod chassis as a heatsink for the voltage regula-

tors which in turn dissipates a very mild amount of

heat constantly throughout the chassis. All is well.

AC RECEPTACLE

Look mom, no wall wart! Plug the AC power

cord in here, and enjoy the convenience of the

CR-1604’s built-in power supply. The other

end goes to your power source. If some nasty

BALANCED LINE INPUTS (Channels1–6)

These six line inputs share circuitry (but not

phantom power) with the six mic preamps, and

can be driven by balanced and unbalanced de-

vices. In other words, you can use these inputs for

virtually any signal you’ll come across, from in-

strument levels to –10dBV to +4dBu, since there

is 40dB of gain available.

MAINS

PHANTOM

+48V

OFF

• To connect these inputs to balanced sources,

use a Tip-Ring-Sleeve (3-conductor) plug:

WHY NO WALL WART?

Tip = Positive (+ or hot)

Ring = Negative ( – or cold)

Sleeve = Shield (ground)

Building a power supply into

the CR-1604 wasn’t any picnic.

But we think that you’ll appre-

ciate it for several reasons:

• The CR-1604 has separate

• To connect unbalanced sources to the

balanced inputs, use a mono phone plug or

standard instrument cable. The jack on the

CR-1604 input will sense the plug and

disable the balancing circuits.

• Line inputs 1–6 are a good place to connect

instruments which have low output such as older

keyboards. Or keyboards in general for that matter,

since you can adjust the corresponding channel

INPUT SENSITIVITY controls so the mixer has

plenty of gain, but you can still keep the keyboard

volume set around the halfway mark.

regulated power supplies for the audio, meter,

12VAC lamp and microphone phantom circuits.

That’s part of why it sounds so good. No wall wart

can provide this kind of sophisticated power.

• Wall warts and “line lumps” are inconvenient,

generate huge hum fields, hog extra jacks on your

power strip and get in the way when you move.

• The thin cable coming out of a wall wart or

in-line power supply breaks easily, especially on the

road. Then you need a whole new one, possibly of

some esoteric breed that’s only available from the

manufacturer on alternate Thursdays via an un-

listed phone number. If the rugged cord on the

CR-1604 wears out, you can score one anywhere

fast. Except maybe in the far reaches of the galaxy.

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BAL MAIN OUT

MONO

AUX OUTPUTS

ALT 3/4 OUT BUSS INSERT

AUX RETURNS

CHANNEL ACCESS TIP=OUT RING=IN

LEFT

RIGHT

MONITOR

RIGHT

30 29

INPUT

OUTPUT

POD

CHANNEL ACCESS jacks For example, a

fate befalls the cord, you can use any standard

IEC cord like those found on most professional

recorders, musical instruments and computers

(for example Radio Shack #278-1257 {6-ft} or

#278-1261 {12-ft.}). NOTE: Disconnecting the

plug’s ground pin can be dangerous. Don’t do it.

mono plug inserted only to the first click does

not interrupt the master (main outputs,

headphone output, ALT-3/4 outputs). Plugged

all the way in, it becomes a direct out and

interrupts. This may seem weird at first, but

it’s the way. See page 16 for a picture

describing the plug and inserts.

FUSE

The CR-1604 is fused for your (and its own) pro-

tection. If you suspect a blown fuse, disconnect the

power cord, pull the fuse drawer just below the AC

receptacle and replace the fuse with a 1-amp SLO

BLO fuse (or 1/2-amp SLO BLO fuse if the unit is a

230V model). 230V models have a bright red

230V sticker both on the shipping box and on

the mixer itself. Iftwo fuses blow in a row, some-

thing is very wrong. Call our toll-free number and

find out what to do.

AUX RETURNS TO MASTER

This is where you connect the output of your

effects devices or, in some cases, return the signal

of a multitrack tape machine/mixdown deck.

Many mixers simply have a passive input cir-

cuit for AUX returns. We have active input gain

circuitry which allows use of a wider range of ex-

ternal devices. The circuits will handle stereo or

mono unbalanced signals at instrument level or

–10dBV to +4dBu.

These eight inputs can be used for a vari-

ety of effects. (For more detailed information

on functions and their relationships to practi-

cal application in the production of your

music, see the Applications Guide in our In

Your Face magazine.

27 CHANNEL ACCESS, TIP=OUT, RING=IN

This is where you connect series processors

such as compressors, equalizer, de-essers, or filters.

Since most people don’t have more than a few of

these gadgets, we’ve included connections for just

the first eight channels. If you want to use this kind

of processing on Channels 9–16, simply plug into

and out of the device before you plug into the

CR-1604 channels. Connecting a processor here

will affect only the associated channel.

BUS INSERT

These are the send and receive jacks for

inserting an effect such as final compression,

limiting or EQ into the Main Left/Right Buses.

Inserting a processor here will affect your

entire mix. See page 16 for a picture describ-

ing the plug and inserts.

The BUS INSERTS can also be used as an

output with no interuption to signal.

NOTE: The BUS INSERTS are pre-main

faders. If you are using them for output, make

sure the connecting device has some way to

adjust incoming level.

• Tip=output (send to external device),

Ring=input (return from external device)

• The insert points are after the mic preamps,

channel faders and equalizers (Post-Fader/

Post-EQ). This can be modified with a little

technical knowledge found on pages 33–34.

• CHANNEL ACCESS outputs are low-imped-

ance (120-ohm) and are capable of driving all

processors (except Cuisinart food processors).

• For best results the device should be capable

of at least +18dB input/output (any profes-

sional unit). Do not use “stomp box”-style

devices. They simply can’t keep up with the

operating level needed to match CR-1604

performance.

• The CR-1604’s CHANNEL ACCESS jacks are of

a special design that gives more flexibility than

regular jacks. What kind of plug you use and

how far you plug it in varies the function of

• Tip=output (send to external device),

Ring=input (return from external device)

• The BUS INSERT is before the Master fader

controls and after the main L/R mix amps.

• Inputs and outputs are unbalanced and

designed to work with pro devices with at least

18dB of input/output.

• The BUS INSERT can also be used as a tape

out if plugged in the first “click”. Master

adjustments will not affect level.

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ALT 3/ 4 OUT

33 BAL/ UNBAL MAIN OUT – STEREO

This is where the outputs appear from the

These outputs are electronically balanced

(since they have both polarities available and are

capable of driving +4dBu lines with 28dB of head-

room). They’re also low impedance.

• For most music recording and PA applica-

tions, unbalanced outputs are perfectly

acceptable. Use standard cables. For

cables runs over 50 feet, you may need a

balanced line to reject noise.

channels that have been assigned via the

MUTE/ALT switch. The post-EQ/post-fader/

post-panpot/pre-aux send signals from all of

the muted channels appear at these outputs.

Output is low impedance unbalanced and is

designed to drive any input from low to high

impedance. Maximum output level is +22dBu

with a nominal operating level of +4dBu.

NOTE: Engaging a channel’s MUTE/ALT

switch will deactivate its AUX sends. See the

next section for several nifty ALT-3/4 OUT

applications.

INPUT

OUTPUT

POD

• Balanced output is 6dB hotter than the

unbalanced outputs.

• To use these outputs in balanced applica-

tions, connect a stereo phone plug as follows:

AUX OUTPUTS

Tip = – (cold)

Ring = + (hot)

Sleeve = Ground

_{This is}NOT^{a typo!}

These are low impedance unbalanced out-

puts for the signals sent from AUX sends 1

through 6 (post-fader/post-EQ). Output is low im-

pedance and is designed to drive ANY input from

low to high impedance. Maximum output level is

+22dBu with a nominal operating level of +4dBu.

Why is the tip cold and the ring hot?! Well

if you must know there are quite a few manu-

facturers that use this polarity configuration.

No, you cannot go inside the CR-1604 and

merely flip the wires around; doing so would

short out your meters and void your warranty.

If you absolutely must change the polarity try

internally modifying a TRS adaptor or use an

external phase reverser.

32 MONITOR OUT

This is a low impedance unbalanced output

for the signals sent from the MON SEND (AUX1

pre fader/pre EQ). The output is designed to

drive ANY input from low to high impedance.

Maximum output level is +22dBu with a nominal

operating level of +4dBu.

34 MONO MAIN OUT

Same characteristics as the stereo MAIN

OUTs except that the signal combines Right

and Left Main Channels and the polarity is

reversed (tip = hot, ring = cold).

ONE FINAL NOT-SO-OBVIOUS OUTPUT

The CR-1604’s stereo

PHONE jack. As you’ll see

NEED MORE OF A GOOD THING?

from the Applications

Guide, we recommend con-

necting your monitor power

amp to this output in several cases.

Its output is HOT. First turn the PHONES

fader all the way off. Then rotate the power

amp’s level controls to 12 o’clock. Now bring up

the PHONES fader gently.

If in the past you’ve had to put up with conven-

tional, grungy-sounding headphone amps, you

may initially be reluctant to “trust” the CR-1604’s

headphone output. Not to worry. The sound qual-

ity is exactly the same as the main outputs and

will not degrade your audio in any way.

You can create a 32 or 48-channel mixer with

the Mackie Designs MixerMixer combiner. It con-

nects all the outputs of up to three mixers without

losing channels via “cascading.” You can hook up

two or three CR-1604s together, providing you

with more of everything you love about our mixer

as your budget and/or needs grow. The 1/LEFT

and 2/RIGHT faders on each mixer become sub-

mix faders. And we offer an optional 100mm

Remote Fader to control the combined Main L/R

outputs. Not satisfied with this stroke of flexibility,

we’ve put together an ultra-affordable CordPack

that includes all the cables necessary to intercon-

nect three CR-1604s. This way, you won’t go broke

buying 36 mono and three stereo cables piece-

meal, which could add up to almost as much as

the MixerMixer itself.

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Part 4 — CONNECTION TIPS

It’s now time to begin hooking up all the cool

stuff you want to mix together. At this point, you

rack mounters may want to rotate the CR-1604’s

through a Channel Access or Stereo Bus in-

sert or before/after the mixer. Processors

include compressors, limiters, filters or exter-

input/output pod to its jacks-to-back position. Pod nal equalizers.

rotation instructions start on page 20. If you want

everything in yo’ face, i.e. jacks on the same plane

ODD DUCKS

as the controls, get our RotoPod bracket (see

details on page 20).

Some newer, digital “Swiss Army Audio Knives”

can be switched for compression, limiting and

whatever else struck the whim of the product de-

signer. Check their manuals for details. You’ll

probably want to connect them based on how

you’re using them in your mix.

Instead of being included in this manual we

have provided an incredibly detailed Applica-

tions Guide with much more detailed (and

colorful) drawings than could be managed in a

2-color, letter-size manual. NOTE: If you some-

how lost the Applications Guide in the

frenzied heat of unpacking your CR-1604,

your Mackie dealer should have some extras

stashed someplace. Or call 1-800-898-3211

and we’ll send you a replacement, pronto.

HOOK

CONNECTING AN EFFECT WITH STEREO

OUTPUTS

Use two separate cables and plug into a LEFT/

RIGHT pair of an AUX return. The corresponding

stereo AUX RETURN Level knob will control both

sides of the effect equally.

EFFECTS AND PROCESSORS

CONNECTING A MONO OUTPUT EFFECT

Most recording and PA setups use external

signal processors to enhance the sound: reverb,

If you want a signal to return to just the right

delay, digital delay, equalizers and compressors side, plug the effect output into just the RIGHT

are the most common, but perhaps you have a

harmonizer or enhancer as well. All of these

devices can be grouped into two categories —

effects and processors, depending on what they

do and how they’re used.

AUX RETURN.

SEPARATE MONO EFFECTS IN L & R

If you plug different mono effects into an AUX

RETURN’s left and right jacks and press the

corresponding MONO button, you get up to eight

mono returns.

EFFECTS (parallel processing)

These generate additional sounds that you

add to the mix, usually by making two simulta-

neous mixes: one is of the unmodified dry signal

CHANNEL INSERTS

To connect a processor using the CR-1604’s

that goes directly to the main outputs via the in- CHANNEL ACCESS jacks, use tip-ring-sleeve

put channels; the other is an auxiliary mix that

is sent to the effects device. The output of the

effect is then mixed with the main output, usu-

ally through an AUX return. The most common

effects are reverb and digital delay.

plugs wired as shown. The “tip” plug goes to the

processor INPUT; the “ring” plug goes to the

processor’s OUTPUT. If you’re using these jacks

as channel inserts, adjust the TRIM controls after

you plug the processor in.

PROCESSORS (serial processing*)

CHANNEL INSERTS AS DIRECT CHANNEL OUTS

These devices modify the signal and com-

pletely replace it with the processed version.

You can also use the CHANNEL ACCESS jacks

as direct outputs from the channels (post-fader/

Usually they are connected to only one micro- post EQ) to feed tape decks, DAT machines or

phone, instrument, or track at a time —

other mixers. (See drawing on following page.)

* — as compared to CEREAL processing, wherein

wheat, rice, oats, etc. are turned into strange, alien-

colored breakfasts foods named after kiddie shows.

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kit via two “sub master faders” (actually input

channels 15 & 16 of the mixer). For purposes of

this example, let’s assume that you have already

hooked up your drum mics or machine inputs to

Channels 1 through 5.

MONO PLUG

Channel Insert jack

Direct out with no signal interruption to master.

Insert only to first “click”

EXAMPLE 1

1. Now press the MUTE ALT 3/4 buttons on these

five input channels (They are no longer part of

your main mix but are now destined for the

sub-mix which in turn goes to the main mix.)

2. Next connect the rear panel ALT 3/4 outputs

back into two other channels of the CR-1604,

for example, Channels 15 and 16. These two

channels become your sub-mix level controls.

3. Pan Channel 15 HARD LEFT and Channel 16

HARD RIGHT, respectively, so that the

panning of Channels 1–5 will be reflected in

your stereo sub-mix. DO NOT engage the

mute/alt on these channels.

MONO PLUG

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second “click”

HOOK

STEREO

PLUG

Channel Insert jack

For use as an effects loop.

(TIP= SEND to effect, RING = RETURN from effects)

SEND to processor

ring

“tip”

(TRS plug)

tip

sleeve

4. Adjust individual levels of the five drum

channels that are part of the sub-mix by using

their channel faders (1, 2, 3, 4, and 5).

this plug connects to one of the

CR-1604’s Channel Insert jacks.

“ring”

RETURN from processor

• Direct out with no signal interruption to

5. Adjust the pan position of each drum channel

mains. Push a MONO plug into a CHANNEL

ACCESS jack until you feel it click once. In

this configuration the channel access is acting

as an independent direct out with no signal

interruption to the master.

with that channel’s PAN pot.

6. Control the overall level of this drum sub-mix

within the main mix via Channel Faders

15 and 16.

7. Add effects and EQ to the submix channels

• Direct out with signal interruption to master.

Push the plug all the way into the CHANNEL

ACCESS jack. The signal will now be inter-

rupted from the master and be available at the

direct out only. Use this mode when connect-

ing to the inputs of multi-track recorders.

• Effects Loop. A stereo plug wired as shown

in the drawing above turns the CHANNEL

ACCESS into a loop that will send and receive

to and from an external device using the same

channel access jack. Use this mode when

connecting to the inputs of multi-track

recorders.

if desired.

EXAMPLE 2

You can also create sub-mixes without tying up

additional CR-1604 channels.

1. As before, press the MUTE ALT 3/4 buttons on

the five drum Channels (1–5). These channels

are no longer part of your main mix.

2. Connect the CR-1604’s ALT 3/4 Outputs to the

LEFT and RIGHT jacks of an AUX return,. In

our diagram we’ve used AUX 1, LEFT. Stereo

AUX RETURN 1 now controls the master drum

sub-mix level.

CREATING SUB-MIXES

In either of these two setups, you can

instantly solo your sub-mix into your head-

phones (or monitor speakers if they are

connected to the headphone output) by

pressing the CR-1604’s ALT/PREVIEW but-

ton or soloing the submaster channels.

USING THE ALT 3/ 4 OUT

Surprise! The CR-1604 really has FOUR buses,

not just two! The following are working examples

of how to effectively use the flexibility of the

ALT 3/4 OUTPUT buses. In the first example, let’s

imagine that you want to create a separate drum

sub-mix. This setup is used to control the level of

all of the various channels that make up the drum

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SUBMIX HOOKUP EXAMPLE 1

SUB-MIX

CHANNELS TO BE SUB-MIXED

Pan Ch. 16

hard LEFT

Pan Ch. 16

hard RIGHT

PAN

SOLO

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

these

channels

HOOK

+20

+ 20

+20

UNBALANCED LINE INPUTS

BUSS INSERT AUX RETURNS TO M

BALANCED OR UNBALANCED LINE INPUTS

LOW Z BALANCED MICROPHONE INPUTS

AUX / MONITOR OUTPUTS

MIC INPUT

ADDS 8dB

ADDITIONAL

GAIN

ALT 3-4 OUT

LEFT

RIGHT

ALT 3-4 OUT

Microphones are shown but

these could also be 1/4" line

inputs from drum machines .

SUBMIX HOOKUP EXAMPLE 2

SUB-MIX

CHANNELS TO BE SUB-MIXED

STEREO AUX RETURNS

sub-mix

level

set here

PAN

00 +15

SOLO

MUTE

these

channels

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

MUTE

ALT 3/4

00 +15

+ 20

+20

00 +15

MONO

Press AUX

SOLO to

solo

AUX

SOLO

sub-mix

00 +15

LEVEL

BALANCE

UNBALANCED LINE INPUTS

BUSS INSERT

BALANCED OR UNBALANCED LINE INPUTS

LOW Z BALANCED MICROPHONE INPUTS

AUX / MONITOR OUTPUTS

MIC INPUT

ADDS 8dB

ADDITIONAL

GAIN

ALT 3-4 OUT

AUX RETURN

LEFT

RIGHT

ALT 3-4 OUT

AUX RETURNS

TO MASTER

MIC or line inputs for submix

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ASSORTED NUGGETS OF MONITORING WISDOM

CAN YOU TRUST YOUR EARS?

Even if you have perfect

If this has ever happened to you, don’t feel bad.

You can’t appreciate a color movie if all you have is

a black and white TV. And just like having a good video

monitor, the key to successful music production is an

accurate idea of what your mix really sounds like.

In order to do this properly, several things must

be present. The first and foremost is a quality set of

control room monitors and a clean power amp with

plenty of dynamic headroom.

hearing, your ears will not al-

ways give you a true idea of what

is being heard.

Expecially if you like to really

crank your monitors while mixing. As the session

progresses, your ears will have a tendency to be-

come accustomed and eventually numb to volume

and EQ levels. We call this phenomenon ear fatigue.

The longer your session, the more ear fatigue you’ll

encounter.

These two components are indispensable if you

are to achieve the album quality product that many

of our professional users achieve with their CR-1604’s

(one recent album mixed on the CR-1604 was sub-

mitted for a Grammy nomination... in the classical

category where they’re sticklers for sound quality).

If your current monitors are an old set of POLY

POOPALA liquid cooled monoliths that you bought

off your roommate for a hundred bucks, and your

amp is the stereo receiver you bought with your pa-

per route money 15 years ago, you can be assured

that whatever you create with your CR-1604 will

most likely not sound right if played on any other

system. Save cheap hi-fi speakers and wimpy 30-

watt amps for your next garage sale.

EXAMPLE : Have you ever spent an entire night

working on a song trying to get the EQ and volume

just right, only to find that when you listen to your

results the next day you are horrified by the shrill-

ness and lack of separation ?

This is a symptom of ear fatigue. By the end of

the session, your ears had become accustomed to

the EQ level...so you cranked in some more mid and

highs. You also cranked the monitor amp level up

every once in a while, so by the wee hours, things

sounded distinct to you (after all, you were listening

at a VERY high volume which tends to help

definition...until you turn the level back down and

discover mush at normal volume).

HOOK

Instead, spend the money on serious monitor

speakers and a beefy amplifier.

To avoid this, give your ears a break every hour

or so they can recuperate. Also, it is a good idea to

resist the temptation to start out mixing with a real

high output level because this will speed up the

process of ear fatigue.

Actually we recommend two or three sets of

speakers: First, a good quality pair of near field

monitors. This is a mandatory investment if you’re

serious. They’re critical to accurate perception of

what you’re creating, since as you move close to

true near field monitors, the room’s acoustics no

longer become as large a factor. You can then hear

exactly what’s happening. Next, get a pair of cheap

mini-speakers. These simulate boom boxes, car ra-

dios, etc. Finally, if you’re not out of room and

money yet, get a pair of larger speakers with 10 or

12-inch woofers. They can be pro-style studio moni-

tors or just quality stereo speakers with good bass

response. This pair gives you the other end of the

consumer spectrum and helps with adjust bass re-

sponse to fit your potential audience’s hi-fi systems.

“DO I HAVE TO?” Like we said at the beginning

of this manual, it’s your music. Good monitors and

power amps don’t have to cost a fortune.

Your mixer can become a victim of this vicious

circle as well. Avoid inching up your levels in order

to get better separation. Watch EQ levels, too. You

may think you can get better results by adding a lot

of EQ to a guitar or keyboard part to open up the

mix. But eventually your CR-1604 can become over-

whelmed by heavy-handed EQ and excessive output

levels, creating what we call mixer mush.

Like we said, take a rest every once in a while. If

things start getting out of hand in regards to the

overall clarity of your mix, stop for awhile, go grab a

soda or order in a pizza or both. What the heck. Big

studios do it everyday !!

You’ll find these rest times are a far better use

of time than if you just bear down and twist some

more knobs.

DON’T DEVELOP TUNNEL HEARING

Even if you have ultra-accurate monitor speak-

ers, remember, not everyone else does. Experiment

with different systems to really hear what your music

sounds like. Take your rough mixes to your friends

house and play it on his stereo or pop a cassette of

your mix into your car stereo. This will give you a

wider feel for what your studio monitor system is re-

ally telling you. This is exactly why there are always

at least two sets of monitors in big recording studios.

CAN YOU TRUST YOUR MONITORS?

Another common problem that many new engi-

neers experience is the Big Studio Surprise . It

happens when they take their tape to a larger studio

with better monitors.

“Gee, the bass didn’t sound that boomy at my studio”

“Where’s the guitar solo?””

“The cymbals sound like garbage can lids !!”

CARE AND FEEDING OF YOUR CR-1604

Just shove the nozzle into the fader slot

and blast away. Do not use any solvents.

• If you’re going to use the CR-1604 in a

horizontal position (the mixer, not YOU!),

cover it when not in use to prevent dust for

settling in the faders.

• To clean grunge out of the channel faders,

use “canned air” which is available at photo

shops. It comes in compact spray cans.

• To clean fingerprints, diet Pepsi and

peanut butter off the surface of the mixer,

spray Windex or other ammonia-based

window cleaner on a rag and rub at will. Do

not spray cleaner directly on the mixer lest

it get into the faders.

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SENSITIVITY/ LEVEL ADJUSTMENT —

The long version

QUICK

As we noted at the be-

ginning of this manual

achieving the CR-1604’s im-

pressive noise and

headroom specs, requires

adjusting channel sensitiv-

ity to your particular setup.

Can you run the mixer

8. If you’ve set PAN hard left, view the level

on the left LED row. If panned hard right,

the level will appear on the right LED row.

9. While the sound source is activated, turn

the channel’s SENSITIVITY control

clockwise until the level on the CR-1604

meter reads about OdB.

10. Un-SOLO the channel and return the

PAN control to center or however you’re

going to set it during use.

11. Repeat this procedure for each channel,

using the appropriate kind of source

which will be used with that particular

channel.

START

without this adjustment?

Sure. Chances are that you’ll get pretty good

sound. But take a moment to adjust things

properly and you’ll get excellent sound. After

all, its your music.

LEVEL

SETTING

STEPS

SENSITIVITY ADJUSTMENT STEPS

(repeat for each channel being used)

•

When in actual use, avoid running the level

into the CLIP range of the meter, as your

sound quality may suffer. It’s OK for the

+2,+4, and +8 indicators to light up occa-

sionally but only during peaks in the signal

such as drum hits, or when the bass player

accidently gooses one of the backup singers

with the neck of his Steinberger, etc.

Note that you must add 10dB to the

markings on the SENSITIVITY control

when using the and mic inputs.

Once you have performed this simple

calibration, there should seldom be a

need to readjust your input sensitivity

unless a different kind of input is being

used with that channel.

1. If you have some idea of how the chan-

nel is going to be EQed, set it now. If not,

it’s no biggie. EQ will affect levels

somewhat, but not enough to totally

knock things out of whack.

2. Rotate the channel’s PAN control hard

RIGHT or hard LEFT. Leaving PAN in the

center position will reduce level indica-

tions by 6dB.

•

3. Set the channel’s Fader to the detent

Unity position.

4. Turn the channel’s SENSITIVITY control

fully counter clockwise (+4 UNITY).

That’s the small knob just above the

channel line input on the CR-1604’s

input/output pod.

•

Adjusting the channel this way (with 0dB

as maximum) is a conservative approach

that assumes things could get louder

later on. The sensitivity can be set just a

tad higher, if you watch levels carefully

during use.

5. Press the SOLO TO MAIN button on the

CR-1604’s output section. (Optional.)

6. Press the SOLO button on the channel

you’re about to adjust. The level will appear

on the CR-1604’s LED output meters.

7. Make some appropriate music through that

channel. Don’t just play one sustained note,

but rather jam away as you would normally.

If you’re adjusting the level for a channel

connected to a microphone, have the

performer(s) sing/blow/strike/play at the

level they’re going to record or perform at.

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CHANGING THE POD TO

RACK MOUNT POSITION

Remove back plate

It only takes about five minutes and a

Phillips-head screwdriver to change the CR-

1604’s input/output pod from tabletop to

jacks-to-back position.

Remove screws here on each side.

1. Remove all cords and cables from the

mixer, including a lamp if you’ve plugged

one in.

Replace back plate

after rotating 180˚.

Thread ribbon cable

through slot

2. Place the mixer gently face down on a

clean, soft surface such as a blanket or

very large dog.

3. Remove the four #6 screws securing the

small slotted black plate on the bottom of

the main part of the mixer. Keep track of

which screws go where.

4. Remove the two #8 screws on each side of

the mixer which secure the pod. Gently

pull the pod away from the main chassis.

5. Lift the pod over the main part of the

mixer. Replace the slotted plate but install

it turned around 180˚ with the ribbon

cables in the slot.

CHANGING

THE POD

Add screws here.

Then add rack rails

6. Lower the pod back onto the slots.

7. Reinstall two #8 screws on each side to

secure the pod. DO NOT press hard while

inserting these screws.

8. Install the rack “ears” on the sides of the

mixer. DO NOT press hard while inserting

these screws.

The BNC lamp socket is no longer acces-

sible in this position.

JACKS TO TOP?

You can also rotate the pod so that the inputs

and outputs are on the same plane as the main

CR-1604 controls. This requires our handy dandy

RotoPod bracket. It comes with its own set of

extended rack rails so that the mixer can be rack

mounted in this configuration. Consult your dealer

for exciting details.

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WARRANTY SERVICE

Power

The complete fine print of our Warranty is

attached to the warranty card that came with

your mixer. If you can’t find it, call us and

we’ll send you another one.

Check the CR-1604 fuse (see page 12).

REPAIR

Also make sure to save your sales receipt.

It’s useful in establishing when you bought

the mixer and for insurance purposes if some-

one happens to borrow your entire studio

while you were on vacation in Mazatlan.

Service for the CR-1604 is only available

from the Mackie Designs factory in scenic

Woodinville, Washington.

If there is a problem with your mixer:

1. Review the troubleshooting suggestions at

left.

TROUBLESHOOTING

2. Call us to confirm that the CR-1604 needs

repair and to get an RA number. You must

have a Return Authorization Number

(RA). Call us at 1-800-258-6883, 8 AM to 5

PM Pacific time, Monday through Friday to

get this number. Products shipped to us

without an RA number will be refused.

We haven’t included a gigantic trouble-

shooting chart with circles and arrows and

captions on the back because our Service De-

partment and support persons are here to

handle that sort of thing. Still, there are some

simple tests you can make before you call to

determine if your CR-1604 is really the cul-

prit. This saves time all around and prevents

you from feeling sheepish when it turns out

that it’s really your Blort-Tronics Sonic

Defrabulator that’s creating the problem,

and not our mixer.

3. If you have rotated the pod, return it to its

original position (jacks pointing towards

the back). If you’ve added a RotoPod,

remove it and return the pod to original

position. If you’ve added an XLR10,

remove it.

Bad channel

4. Set aside the rack ears, manual and cord.

We won’t need these to repair the mixer

(unless you have interharmonic under-

slewing bipolar crosstalk in your rack ears,

a rare but particularly nasty problem...)

Is the channel un-muted? Fader up?

(Honest, this happens.)

Unplug all Bus Insert and Channel Access

hookups.

Switch output cords. For example, if the

left output is dead, switch the left and right

output cords at the mixer. If the problem

moves to the right, it’s not the mixer.

TECH

STUFF

5. Pack the mixer in its original shipping

carton with the foam end caps in place.

This is VERY IMPORTANT. If you do not

have the carton, just ask for one when you

get your RA number and we’ll ship it to you

promptly.

Bad output

Is the output un-muted? Faders up?

Unplug all Bus Insert and Channel Access

hookups.

Switch output cords. For example, if the

left output is dead, switch the left and right

output cords at the mixer. If the problem

moves to the right, it’s not the mixer.

CR-1604

with

pod

CR-1604

with

pod

Noise

top

Turn all faders and AUX returns down. If

the noise goes away, bring levels back up one

at a time, checking for noise at each step.

Unplug everything except the output

where the noise was detected. If the noise

goes away, plug everything back in one at a

time, checking for noise at each connection.

Be sure t o ret urn t he CR-1604 in it s original

“deskt op” mode and remove t he rack ears!

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6. Include a note stating:

SPECIFICATIONS

a. Your return address and phone number

Frequency Response:

20Hz–40kHz ±1dB

Distortion:

b. A brief description of the CR-1604’s

problem

7. Write the RA number in BIG PRINT on the

less than 0.025%, 20Hz–20kHz

Noise:

outside of the shipping carton.

Mic E.I.N.

8. Send us the mixer. We recommend U.P.S.

Remember to insure the mixer. U.P.S. will

help you with this. Ship your CR-1604 to:

–129.0dBm, 150Ω source

–133.7dBV input shorted

Main output noise: –86dBu

Working S/N ratio: 90dBu

(ref: +4dBu)

Mackie Designs, attn: Service

16220 Wood-Red Rd. NE

Woodinville, WA 98072, U.S.A.

Max. Output:

+28dBu main output balanced

+22dBu all other outputs unbalanced

Dynamic Range:

9. We’ll try to fix the mixer within three busi-

ness days. We send everything back prepaid

U.P.S. BLUE (Second Day Air) unless you have

sent your CR-1604 to us for warranty service by

NEXT DAY or SECOND DAY AIR. In that case,

we figure you need it fixed ASAP, so we put it at

the head of the line and ship the unit back

U.P.S. RED (Next Day Air). This policy doesn’t

not apply to non-warranty service.

108dB

Max Gain

Mic: 48dB

Lines 1–6: 40dB

Lines 7–16: 25dB

Mic in to balanced line out: 84dB

Mic in to unbalanced line out: 78dB

Channel faders : 20dB

AUX return: 20dB

L/R master: 10dB

Channel-to-Channel Crosstalk:

–85dB

Headphone Impedance/Output:

20–2000 ohms/200mW.

Equalization:

Hi: Shelving, ±15dB @12kHz

Mid: Peaking, ±12dB @2.5kHz (3.3 octave)

Lo: Shelving, ±15dB @80Hz

Phantom:

160mA, 10mA/CH.

Power Supply:

TECH

STUFF

35 Watts

Weight:

18 lbs.

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CR-1604 DIMENSIONS

(including XLR10 & MixerMixer add-ons, RotoPod bracket)

0.7"

4.5"

6.6"

3.8"

5.9"

19.0"

pod

to top,

FLUSH

rack mount,

with

pod

to top,

RECESS

rack mount,

with

CR-1604

with

pod

top

XLR-10

5.9"

4.8"

6.6"

5.5"

RotoPod

bracket,

XLR10,

extended

rails,

RotoPod

bracket,

extended

rails,

CR-1604

with

RotoPod

backet &

extended

rails

RECESS

rack

FLUSH

rack

mount

N:PRodkpamcrexfluswith

mkw,gtpfocreabl.s

TECH

STUFF

2.3"

3.05"

7.1"

6.4"

CR-1604

with

pod

to back

FLUSH

rack

pod

back

back,

RECESS

rack

mount

with

mount

XLR10

17.34"

3.05"

2.3"

including screw heads

Remote Fader

15.7"

1.4"

2.3"

2.6"

16.7"

XLR-10

MixerMixer

17.1"

16.2"

Note: Dimensional drawings are shown with optional XLR10 and RotoPod.

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CR-1604 BLOCK DIAGRAM

CHANNEL ACCESS

RING IN

CHANNELS 1-6

SOLO SW

GAIN TRIM:

FIRST CLICK=

DIRECT OUT

(NO SIGNAL

INTERUPTION)

PHANTOM

POWER

LEFT

SOLO

RIGHT

MIC GAIN

+10dB to +50dB

TIP OUT

LINE GAIN –

UNITY TO +40dB

CHANNEL

FADER

LEFT MAIN

OFF TO

+20dB

GAIN

ALT 3-4 LEFT

RIGHT MAIN

CHAN

2 (HOT)

POINT

3-BAND

EQUALIZER

80, 2.5K,12K

MIC

MUTE

(ALT

3-4)

PAN

INPUT

PEAK

LED

DISCRETE

MIC AMP

2-WAY

SENSE

ALT 3-4 RIGHT

PRE/MONITOR SIGNAL

LINE

INPUT

10dB PAD

"You're either on

the bus or off the

bus."

Ken Kesey

CHANNELS 7-16

AUX 1

MON

AUX AMP

FROM

XLR10 EXPANDER

TRIM

UNITY TO +25dB

EXPANDER

MIX AMP

MONITOR

AUX 1

AUX 2

OFF TO

20dB

GAIN

LINE

INPUT

POINT

AUX

SENDS

5-6 SHIFT

NOTE: LINE INPUTS ONLY ON CHANELS 7-16,

(FOR MIC INPUTS USE XLR-10 EXPANDER MODULE).

AUX RETURNS 1-4

AUX 3-5

AUX 4-6

GAIN

OFF TO

+20dB GAIN

RETURN

LEFT

BALANCE

SOLO

MONO

RIGHT

RETURN

RIGHT

max out +22

level up +20

+14 max in

level up +15

-8 t rim dn

t o point (B)

from point (A)

MIC INPUT

AUX RETURN

CH. LEVEL

MIX

OUTPUT

-48 t rim up

AUX SEND

L/R bal max out +28

+22 max in

fader up +20

gain up +15

max out +22

L/R unbal

fader up +10

t rim dn

(A)

(B)

-6

(C)

pan cent er -6

PAN

gain dn -15

LINE INPUT

CH 1–6

INSERT

FADER

MIX

INSERT

FADER

OUTPUT

-40 t rim up

CHANNEL

MASTER

+22 max in

t rim dn

t o met ers

LINE INPUT

CH 7–16

METER FEED (+0dBu @ O/P = 0 @ METERS)

-25 t rim up

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t o Albuquerque

TIP OUT

RING IN

LEFT BUS

INSERT

FIRST CLICK=

DIRECT OUTPUT

(NO SIGNAL

BALANCED

MAIN LEFT

OUTPUT

INTERRUPTION)

+28dBu MAX BALANCED

+22dBu MAX UNBALANCED

MASTER

OUTPUT

MUTE

TIP OUT

RING IN

RIGHT BUS

INSERT

MASTER

SWITCH

LEFT & RIGHT

MAIN

MIX AMPS

FIRST CLICK=

DIRECT OUTPUT

(NO SIGNAL

OFF TO

BALANCED

MAIN RIGHT

OUTPUT

+10dB GAIN

INTERRUPTION)

ELECTRONIC

SOLO

+28dBu MAX BALANCED

+22dBu MAX UNBALANCED

SWITCHING

(ONLY WITH

SOLO TO

MAIN

ALT

ALT 3-4

LEFT OUT

SWITCH

PREVIEW

BALANCED

MAIN MONO

OUTPUT

ENGAGED)

ALT 3-4

MIX AMPS

+28dBu MAX BALANCED

+22dBu MAX UNBALANCED

ALT 3-4

RIGHT OUT

SOLO

MIX AMPS

TIP

STEREO

HEADPHONES

OUTPUT

RING

PHONES

AND

SOLO

LEVEL

AUX 1

MONITOR

AUX 2

OUTPUT

METER

NOTES:

1. SWITCHES SHOWN IN

"NORMAL" POSITION.

AUX 3

OUTPUT

+22 CLIP

AUX 4

OUTPUT

METER READS

INPUT CHANNEL

LEVEL WHEN

CHANNEL IS

SOLOED.

TECH

STUFF

AUX 5

OUTPUT

-4

ELECTRONIC

SOLO

AUX 6

OUTPUT

-8

SWITCHING

-12

-16

+22dBu MAX

ALL AUX SENDS

-20

CR-1604

BLOCK DIAGRAM

Rev.

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10 COMMON QUESTIONS

1. How do I get the effects into my monitors?

2. How do I get effects out the ALT 3/ 4 Bus?

3. How do I set up a monitor or auxiliary send master?

4. What modifications can be done to the mixer?

5. How do I perform the modifications to my mixer?

(1) Q: How do I get the effects into my monitors?

A: Instead of connecting the output(s) of an

effect device to the AUX RETURN TO MASTER

jacks, it should be connected to the line input(s)

of unused channels. This would make the chan-

nel fader(s) the AUX RETURN to main output

control. This channel or channels should be set

up as if it were receiving any line input signal.

This means setting the proper input trim level

with the fader at unity and setting the pan con-

trol (stereo or mono). You now have the effect

going to your main outputs.

6. Can I use the Bal./ Unbal. Main Outputs and Mono

Output at the same time?

Now to get the effect to the monitors sim-

ply turn up your monitor send on that

channel (the one you have connected the out-

put of the effect to). The AUX OUT is still

connected to the input of the effect the same

way and the individual channels are still sent

to the effect the same way. The only differ-

ence is how you are controlling the return

level of the effect.

7. Can I split the Main Outputs with a Y-cord?

8. Can I use the XLR Mic Inputs for line inputs?

9. How do I record with effects?

10. Why are there really only 9 questions?

Using this configuration you must remem-

ber one important point — NEVER turn up

the AUX SEND level of the particular effect

on the channel you are using as the AUX RE-

TURN. This will give you a feedback loop. For

example, if you are using AUX SEND 2 for a

reverb send and you are using channels 15

and 16 as your stereo AUX RETURNS, you

would NEVER want to turn up AUX SEND 2

on channels 15 and 16.

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It may seem that you are losing inputs by

configuring the aux returns this way but you

are not. Your unused AUX RETURNS TO

MASTER JACKS can now be used as inputs.

By engaging the MONO switch on the AUX

RETURNS you can have up to 8 mono inputs.

Also, by returning the output of the effect to a

channel you can now use the EQ to further

enhance the effect.

(2) Q: How do I get effects out of the ALT 3/ 4 Bus?

A: You will need to perform option #1, 2, or 3

in the modification sheets in order for an indi-

vidual channel to be muted (sent to the ALT

3/4 Bus) and still be capable of sending chan-

nel information out of the auxiliary sends.

Instead of connecting the output(s) of an

effect device to the AUX RETURN TO MASTER

jacks, it should be connected to the line

input(s) of unused channels. This would make

the channel fader the auxiliary return master.

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The channel should be set up as if it were

receiving any line input signal. This means set-

ting the proper input trim level with the fader

at unity and setting the pan control (stereo or

mono). Next you would MUTE the channel

which would send the auxiliary returns out the

ALT 3/4 Bus.

(5) Q. How do I perform the modifications to my

mixer?

A: Boy, are we glad you asked! Due to

overwhelming demand we have included a

section especially for Propeller-Head-Types

on the next few pages called “MODIFICA-

TIONS-O-RAMA”.

(3) Q: How do I set up a monitor or

auxiliary send master?

(6) Q: Can I use the Bal/ Unbal Main Outputs and

Mono Output at the same time?

A: There are two ways:

1) Insert a mono ¹⁄4" cord into the auxiliary

(monitor) output jack and return the other

end of the cord to the line input of an unused

channel. Engage the MUTE button on the

channel which will send the signal out to the

ALT 3/4 bus. Pan the channel hard left or

right depending on which bus (3 or 4) you

A: Yes! This will not degrade the signal in

any way. Remember the polarities on the main

and mono outputs when running balanced

lines (see page 14 of the Owner’s Manual).

This configuration can be very useful when

an extra monitor send or a mono recording is

needed. The mono output will be the

summed output of the L/R Main Output.

It is important to remember that the Mono

Output will be the same level as the Main

Output but can be controlled at the monitor

amplifier. It can also be controlled by con-

necting the Mono Output to the line input of

an unused channel and Muted to the ALT 3/4

Bus and then connected to the monitor am-

plifier — this can be a little tricky because

when the main output fader levels change so

do the monitor levels.

want to come out of. Connect another mono

⁄

4" cord from the corresponding ALT bus 3 or

4 output to the input of the monitor amplifier.

2) Insert a mono ¹⁄4" cord into the auxiliary

(monitor) output jack and return the other

end of the cord to the line inputs on either of

the channels 1–8. Connect another mono ¹⁄4

cord from the corresponding channel access

jack to the input of the effect device or moni-

tor amplifier. Make sure to insert the plug all

the way into the access jack on the mixer so

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the signal will not go to the main L/R outputs. (7) Q: Can I split the signal at the Main

Either of these 2 ways will allow you to con-

trol the overall level of the auxiliary or monitor

sends by using the channel fader as your mas-

ter. Treat it as if it were any signal but be

careful when you increase the individual chan-

nel send levels because this may eventually

clip the input stage on the master send chan-

nel. If this happens, simply turn down the trim

on the master send channel a little bit.

Outputs with Y-cords?

A: Yes! There is more than enough signal

strength available at the Main Outputs to drive

the high impedance inputs of two devices with

no quality loss of the original signal. For ex-

ample, if you wanted to record the Main

Output to a cassette deck as well as a DAT, two

Y-cords could be used to send an identical sig-

nal to both devices. This type of configuration

could be very useful for many applications.

(4) Q: What modifications can be done to the

mixer?

Auxiliaries:

Option #1: Pre EQ, Pre Fader, Pre Mute/ALT

Option #2: Post EQ, Pre Fader, Pre Mute/ALT

Option #3: Post EQ, Post Fader, Pre Mute/ALT

(STOCK: Post EQ, Post Fader, Post Mute/ALT)

Channel Access:

Option #4: Pre EQ, Pre Fader

Option #5: Post EQ, Pre Fader

(STOCK: Post EQ, Post Fader)

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(8) Q: Can I use the XLR Mic Inputs for

balanced line inputs?

(10) Q: Why are there really only 9 questions?

A: There are two reasons:

A: No and Yes. IMPORTANT!!!!!! The way

the board is configured from the factory it is

not meant to accept a line level signal at the

Mic Inputs. Although the mic and line inputs

pass through the same preamp stage, the line

input has an internal 10dB pad. This 10dB

pad can be accomplished externally by con-

1) Due to an unforseen space-time rift, the

tenth answer slipped back in time before the

question ever happened and cancelled out its

own existence.

2) This is actually a trick question. The

tenth question negates itself simply by being

the tenth question. It’s kind of like saying,

necting two resistors into the XLR cord being “This statement is false.” The statement is

plugged into the XLR jack.

only true if it’s false. But if it’s false then it

would be true… oh, nevermind. If you’re not

The procedure for this is: solder one 4.7K

(4,700 ohm) resistor is series with pin 2 (typi- a student of logic, just pretend like this ques-

cally +) and one 4.7K (4,700 ohm) resistor in tion never really happened in the first place.

series with pin 3 (typically “–”). Solder the

ground connection as normal.

The most important thing to remember

about connecting line inputs to the XLR Mic

Inputs is NEVER NEVER TURN ON THE

PHANTOM POWER unless you put a 22µf 50V

electrolytic capacitor in series with each re-

sistor on pins 2 and 3. The positive leg of the

capacitor should be at the mixer end.

(9) Q: How do I record with effects?

A: There are three ways:

1) During tracking or overdubbing, use the

Main 1/2 outputs to feed your multitrack and

keep the effects returns connected to the Aux

Returns to Master jacks. This way the multi-

track will get effects. Use the MUTE ALT 3/4

to feed the amp and speakers for monitoring

purposes by muting (ALT 3/4) the multitrack

returns. When it is time to mix simply con-

nect the Main 1/2 Outputs to the amp for

monitoring the mix.

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2) When using direct outputs from the

mixer to feed the multitrack inputs, the best

way to record with effects is to place the effect

device in between the mixer and the multi-

track. You should use the “mix” potentiometer

on the effect device to determine how much

effects are wanted on the original signal. This

would have to be done on a per channel basis.

3) Recording with effects can also be done

using the ALT 3/4 outputs by muting the original

signal and muting effects returned to channels.

Connecting the ALT 3/4 outputs to the multi-

track inputs gives you effects to tape. Mod #3

must be done first. (See question 2.)

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MODIFICATIONS-O-RAMA

CHANNEL ACCESS mods

The CR-1604 can be modified to move the

position of AUX Sends and Channel

Inserts in the signal flow. Unless you

have the right tools and have tweaked

with circuitry before, leave these

mods to a pro. Our Official Word on

modifications is: “Any internal

modification of the

STOCK CHANNEL

MOD 4

MOD 5

ACCESS J ACK

PRE-EQ

POST-EQ

PRE-FADER

POST-FADER

PRE MUTE/ALT

MUTE

CH. FADER

ALT 3/4

ALT

3/4

+20

BUS

–15 +15

MID

MUTE

ALT 3/4

CR-1604 MUST be per-

formed by a competent

PREAMP

INPUT

–12 +12

MAIN

1/2

technician. Mackie Designs ac-

–15 +15

cepts no responsibility in the event of

improperly performed modifications

or other damages and, in such

cases, may declare warranty privi-

leges void.” Be VERY careful!

BUS

STOCK

MOD 1

MOD 2

MOD 3

POST-EQ

AUX SEND

PRE-EQ

POST-EQ

PRE-FADER

POST-FADER

PRE MUTE/ALT

POST MUTE/ALT

Here are the most common CR-

1604 modifications, six of which are detailed

on the following pages.

AUX SEND mods

1. CONVERT AUX SENDS TO MONITOR

SENDS (Pre-EQ, Pre-Fader, Pre-Mute/ ALT

Switch).

4. CONVERT CHANNEL ACCESS (INSERTS)

TO PRE-EQ / PRE-FADER.

Can be performed on any or all of the first

eight CR-1604 channel strips. Requires cutting

three circuit traces and adding both a small

jumper wire and a 22µf/16V electrolytic cap on

each channel strip. See pg. 33 of this section.

Can be done on any or all of channel strips

1 to 16. Each channel modification requires

cutting one or more circuit traces and adding

a small jumper wire. On each strip, you can

modify Sends 2, 3, 4 or any combination

thereof. Note: Converting AUX 3 will also con-

vert AUX 5; converting AUX 4 will also convert

AUX 6. See the next page.

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5. CONVERT CHANNEL ACCESS (INSERTS)

TO POST-EQ / PRE-FADER.

Can be performed on any or all of the first

eight CR-1604 channel strips. Requires cut-

ting three circuit traces and adding both a

small jumper wire and a 22µf/16V electrolytic

cap on each channel strip. See pg. 34 of this

section.

2. CONVERT AUX SENDS INTO MONITOR

SENDS WITH EQ (Post-EQ, Pre-Fader, Pre-

Mute/ ALT Switch).

POD

Can be done on any or all of channel strips

1 to 16. Each channel modification requires

cutting one or more circuit traces and adding

a small jumper wire. On each strip, you can

modify Sends 2, 3, 4 or any combination

thereof. Note: Converting AUX 3 will also con-

vert AUX 5; converting AUX 4 will also convert

AUX 6. See pg. 31.

MAIN CHASSIS

POD

6. TIE SOLO TOGETHER ON TWO OR MORE

CR-1604s.

See pg. 35 of this section.

MAIN CHASSIS

POD

3. CONVERT AUX SENDS TO IGNORE

MUTE/ ALT STATUS (Post-EQ, Post-Fader, Pre-

Mute/ ALT Switch).

Can be on any or all of channel strips 1–16.

Converts ALL AUX sends on each channel

strip. Requires cutting a circuit trace, and

adding both a small jumper wire and a

20,000Ω resistor. See pg.32 of this section.

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Modification 3&4

Modification 1&2

PRE-EQ • PRE-FADER • PRE-ALT/MUTE MODIFICATION

AUX 4

AUX 3

AUX 2

Add jumpers (d)

cut t races (c)

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Modification 1 — AUX SEND

PRE-EQ• PRE-FADER• PRE-ALT/ MUTE

8. Replace main chassis cover and reattach

top and side screws.

9. Reconnect main chassis and pod;

replace side screws.

10. Gently nudge any slack ribbon cable into

the main chassis and replace ribbon

cable cover.

This modification converts AUX Sends into

pre-EQ/pre-fader/pre-ALT/mute Monitor

Sends. You can modify AUX 2, AUX 3 and/or

AUX 4 on any or all of the CR-1604’s 16 chan-

nels. Converting AUX 3 also converts AUX 5;

converting AUX 4 also converts AUX 6.

1. Remove all cords from the CR-1604 and

place it face down.

POD

MAIN CHASSIS

POD

2. Remove ribbon cable plate cover (a).

Keep track of what screws go where!

3. Remove pod mounting bolts (b) and

separate pod from main chassis.

4. Remove bottom and side screws from

main chassis.

Any internal modification of the CR-1604

must be performed by a competent electronic

technician. Mackie Designs accepts no respon-

sibility in the event of improperly performed

modifications or other damages and, in such

cases, may declare warranty privileges void.

MAIN CHASSIS

POD

5. Remove main chassis cover and set it

aside.

6. Cut traces to selected AUX Sends (c).

7. Add jumper wires [shown as grey lines

(d) in illustration] for those AUX Sends

with cut traces. Don’t smash the wires

down tight onto the circuit board. Let

them “arch” above if possible.

* Note: Traces on different channels may

vary slightly from the drawing. (Engineering

sez channel strips are like snowflakes).

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Modification 3&4

Modification 1&2

POST-EQ • PRE-FADER • PRE-ALT/MUTE MODIFICATION

AUX 4

AUX 3

AUX 2

Add jumpers (d)

cut t races (c)

Add jumpers (d)

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STUFF

Modification 2 — AUX SEND

POST-EQ• PRE-FADER• PRE-ALT/ MUTE

This modification converts AUX Sends into

post-EQ / pre-fader / pre-ALT/mute Monitor

Sends. You can modify AUX 2, AUX 3 and/or

AUX 4 on any or all of the CR-1604’s 16 chan-

nels. Converting AUX 3 also converts AUX 5;

converting AUX 4 also converts AUX 6.

1. Remove all cords from the CR-1604 and

place it face down.

8. Replace main chassis cover and reattach

top and side screws.

9. Reconnect main chassis and pod;

replace side screws.

10. Gently nudge any slack ribbon cable into

the main chassis and replace ribbon

cable cover.

POD

MAIN CHASSIS

POD

2. Remove ribbon cable plate cover (a).

Keep track of what screws go where!

3. Remove pod mounting bolts (b) and

separate pod from main chassis.

4. Remove bottom and side screws from

main chassis.

Any internal modification of the CR-1604

must be performed by a competent electronic

technician. Mackie Designs accepts no respon-

sibility in the event of improperly performed

modifications or other damages and, in such

cases, may declare warranty privileges void.

MAIN CHASSIS

POD

5. Remove main chassis cover and set it

aside.

6. Cut traces to selected AUX Sends (c).

7. Add jumper wires [shown as grey lines

(d) in illustration] for those AUX Sends

with cut traces. Don’t smash the wires

down tight onto the circuit board. Let

them “arch” above if possible.

* Note: Traces on different channels may

vary slightly from the drawing. (Engineering

sez channel strips are like snowflakes).

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Modification 3&4

Modification 1&2

POST-EQ • POST-FADER • PRE-ALT/MUTE MODIFICATION

Add resist or (e)

Add Jumper (d)

Cut here (c)

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STUFF

Modification 3 — AUX SEND

POST-EQ • POST-FADER • PRE-ALT/ MUTE

This modification converts AUX Sends into

post-EQ/post-fader/pre-ALT mute Monitor

Sends. You can modify any or all of the

CR-1604’s 16 channels. NOTE: The conver-

sion affects ALL AUX Sends per channel.

1. Remove all cords from the CR-1604 and

place it facedown.

2. Remove ribbon cable plate cover (a).

Keep track of what screws go where!

3. Remove pod mounting bolts (b) and

separate pod from main chassis.

4. Remove bottom and side screws from

main chassis.

5. Remove main chassis cover and set it

aside.

6. Cut trace (c).

7. Add jumper wire (d). Don’t smash the

jumper down onto the circuit board. Let

it “arch above,” if possible.

8. Add 20,000Ω (20K), 1/4-watt resistor (e).

9. Replace main chassis cover and reattach

top and side screws.

10. Reconnect main chassis and pod, and

replace side screws.

11. Gently nudge any slack ribbon cable into

the main chassis and replace ribbon

cable cover.

POD

MAIN CHASSIS

POD

MAIN CHASSIS

POD

Any internal modification of the CR-1604

must be performed by a competent electronic

technician. Mackie Designs accepts no respon-

sibility in the event of improperly performed

modifications or other damages and, in such

cases, may declare warranty privileges void.

* Note: Traces on different channels may

vary slightly from the drawing. (Engineering sez

channel strips are like snowflakes).

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Modification 3&4

Modification 1&2

Add Capacit or (d)

PRE-EQ • PRE-FADER • PRE-ALT/MUTE

MODIFICATION

Add Jumper (d)

Cut here (c)

TECH

STUFF

Modification 4 — Channel Insert

PRE-EQ • PRE-FADER • PRE-ALT/ MUTE

This modification moves the CR-1604’s

Channel Access points to pre-EQ/pre-fader.

You can modify any or all of the CR-1604’s first

8 channels. WARNING: This is an Advanced

Deadly, Expert Level Modification. Don’t try

this one at home!

POD

MAIN CHASSIS

POD

1. Follow steps 1 through 5 at the bottom

of page 31.

2. Cut traces as shown at points (a), (b)

and (c) in the upper drawing at left.

3. Add jumpers (d) & (e). Don’t smash the

jumper down onto the circuit board. Let

it “arch” above.

4. Add a 22-microfarad/25-volt electrolytic

capacitor as shown (f) — polarity

doesn’t matter. You will need to solder a

wire onto one or both ends.

Any internal modification of the CR-1604

must be performed by a competent electronic

technician. Mackie Designs accepts no re-

sponsibility in the event of improperly

performed modifications or other damages

and, in such cases, may declare warranty

privileges void.

MAIN CHASSIS

POD

5. Follow steps 9 to 11 at the bottom of

page 31.

* Note: Traces on different channels may

vary slightly from the drawing. (Engineering

sez channel strips are like snowflakes).

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Modification 3&4

Modification 1&2

Add Capacit or (d)

POST-EQ • PRE-FADER • PRE-ALT/MUTE

MODIFICATION

Cut here (c)

Add Jumper (d)

Cut here (c)

Add Jumper (d)

TECH

STUFF

Modification 5 — Channel Insert

POST-EQ • PRE-FADER • PRE-ALT/ MUTE

This modification moves the CR-1604’s

Channel Access points to post-EQ/pre-fader.

You can modify any or all of the CR-1604’s first

8 channels. WARNING: This is an Advanced

Deadly, Expert Level Modification. Don’t try

this one at home!

POD

MAIN CHASSIS

POD

1. Follow steps 1 through 5 at the bottom

of page 31.

2. Cut traces as shown at points (a), (b)

and (c) in the lower drawing .

3. Add jumpers (d) & (e). Don’t smash the

jumper down onto the circuit board. Let

it “arch” above.

4. Add a 22-microfarad/16-volt electrolytic

capacitor as shown (f) polarity doesn’t

matter. You’ll need to solder a wire onto

one or both ends.

MAIN CHASSIS

POD

Any internal modification of the CR-1604

must be performed by a competent electronic

technician. Mackie Designs accepts no respon-

sibility in the event of improperly performed

modifications or other damages and, in such

cases, may declare warranty privileges void.

5. Follow steps 9 to 11 at the bottom of

page 31.

* Note: Traces on different channels may

vary slightly from the drawing. (Engineering

sez channel strips are like snowflakes).

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Main PCB

solder side

Modification 6

SOLO TIE FOR MIXERMIXER APPLICATION

Add Jumper (d)

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Modification 6 — Solo Tie

FOR MIXERMIXER APPLICATION

To same point on ot her CR-1604

This modification connects the solo function

of multiple CR-1604’s.

1. Follow steps 1 through 5 at the bottom

of page 31.

POD

2. Solder an insulated wire (d) from one

mixer to another at point A

3. Follow steps 9 to 11 at the bottom of

page 31.

MAIN CHASSIS

POD

MAIN CHASSIS

POD

Any internal modification of the CR-1604

must be performed by a competent electronic

technician. Mackie Designs accepts no respon-

sibility in the event of improperly performed

modifications or other damages and, in such

cases, may declare warranty privileges void.

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CR-1604 ARCHITECTS’ & ENGINEERS’

SPECIFICATIONS

Additionally, the mixer shall accommodate

(What the heck! You might run into an inquisitive,

musical architect or engineer some day…)

the RotoPod Bracket Set which shall allow

the Input/Output Pod to be rotated in such a

way the input/outputs are on the same plane

with the Main Mixing Board controls.

1. The mixing console shall have a 2-part

main frame which accommodates 10 Unbal-

anced and 6 Balanced Line Inputs, 6 Balanced

Microphone Inputs, 1 Balanced/Unbalanced

Main Left Output, 1 Balanced/Unbalanced

Main Right Output, 1 Balanced/Unbalanced

Main Mono Output, 1 Monitor Output, 6 AUX

Outputs, 2 ALT Outputs, 2 Bus Inserts, 4 Stereo

AUX Returns, 8 Channel Access Jacks and 1

Stereo Headphone Output. The main frame

shall be capable of mounting on a table or in a

standard 19-inch rack mount and shall be en-

tirely self-contained.

The mixer’s dimensions shall be 16.1" tall

by 17.34" wide (including screw heads) by

4.1" deep with the Input/Output Pod rotated

to top, or 15.8" tall by 17.34" wide by 4.8" deep

with the Input/Output Pod rotated to back.

The rack rails shall be adjustable to allow

flush mounting which shall add an extra 0.7"

to respective depth measurements. The

weight in either case shall be 18 pounds.

The Input/Output Pod shall include a fe-

male BNC connector for 12V AC powering and

physical attachment of a gooseneck lamp,

LittleLite PN #12G or 12G-HI.

The mixer shall exactly accommodate the

XLR10 add-on mic preamplifier section via

mechanical and electronic connections.

6. Each mixer Input Section shall include

the following features: 4 AUX send controls

shall feed 7 separate outputs, a Monitor button

shall change AUX 1 to either pre (monitor) or

post effects; a Shift button shall change AUX 3

and 4 to AUX 5 and 6; 3 rotary equalization

controls (±15dB LO shelving at 80Hz, ±12dB

MID peaking at 2.5kHz, ±15dB HI shelving at

12kHz), L/R rotary Pan control, stereo in-place

Solo switch, Mute ALT-3/4 switch, overload

clipping LED, and dB-calibrated 45mm Chan-

nel Fader with center-detent unity gain

2. The main frame shall include two 10-LED

meters for monitoring Main L/R Outputs or

channel level during solo, one-each Overload

Clipping LED’s for each of 16 channels, Solo On

LED and Power LED.

3. The main frame shall include on its rear

panel electronically balanced mic inputs us-

ing female XLR-3-type connectors to accept

nominal levels of from –50dBu to +14dBu.

The main frame shall also have 16 line inputs

consisting of standard 1/4" phone jacks which

shall accept nominal levels of from –40dBu to

+22dBu on Channels 1 through 6 and –25dBu

to +22dBu on Channels 7 through 16. Each of

16 channels shall have a rotary Sensitivity

Control adjustable from +4dB to –40dB on

Channels 1 through 6 and +4dB to –25dB on

Channels 7 through 16. The main frame shall

have Stereo Bus Inserts, 4 Stereo Aux Returns

and 8 tip-out/ring-in Channel Access Inserts.

There shall be a phantom power supply with

separate switch to provide DC power to all

mic input connectors for remote powering of

condenser microphones.

4. The mixer outputs shall be 1/4" phone

jack; there shall be 1 Left and 1 Right Main

Outputs, 1 Mono Main Output, 1 Monitor

Output, 6 AUX Outputs, Alternate Outputs

on buses 3 and 4, and 1 Stereo Headphone

Output. Maximum Main Output level shall

be +28dBu balanced (+22dBu unbalanced);

all other Outputs shall be capable of +22dBu

maximum output level.

TECH

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position. The Solo switch shall maintain stereo

perspective for all soloed channels and returns.

The Mute switch shall cause muted channels

to be unassigned from main left/right output

and reassigned to ALT Outputs 3 & 4.

7. The mixer Main Output Section shall

have 4 Stereo AUX Returns (consisting of 4

rotary Level controls, L/R Balance controls and

4 mono push switches), AUX Solo switch, ALT

Preview switch, Main Output Mute switch, Solo

to Main switch, Left/Right Master dB-cali-

brated 45mm Master Fader with center-detent

unity gain position,10-step LED meter (cali-

brated –20 to +8, plus CLIP), Power LED,

flashing Solo LED, Stereo Headphone/Solo

Output Jack and 45mm Solo/Headphone Level

Control. The ALT Preview switch shall allow

listening to all muted channels via head-

phones. The Headphone Solo Level Control

shall regulate the output level of signals ap-

pearing at the Headphone Output jack and

Solo as it appears at the Main Outputs.

5. The main frame shall be grey-black, con-

sisting of two parts: a Main Mixing Board with

steel chassis, and an Input/Output Pod with

aluminum/steel chassis which shall be me-

chanically connected by metal screws and

electrically connected by ribbon cables. The

Pod shall be designed in such a way that it

may be attached in one of two ways: 1) With

input/outputs to the top of the mixing console

or 2) with input/outputs to the rack of the

mixing console.

The mixer shall be a Mackie Designs CR-1604.

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CR-1604 TRACK SHEET

Chs____to____ Session_______________ Date___/ ___/ ___

AUX

00 +15

MON

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

00 +15

5/6

SHIFT

–15 +15

MID

–12 +12

–15 +15

PAN

SOLO

Ch #

MUTE

ALT 3/4

+20

+ 20

+20

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This is the back of a master track sheet, which

came in the Mackie CR-1604 Manual

If you find this sheet in a copy machine, please

return it to the engineer/owner of the console,

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CR-1604 OUTPUT, INPUTS, TRIM LEVELS

Session_______________ Date___/ ___/ ___

STEREO AUX RETURNS

00 +15

MONO

AUX

SOLO

00 +15

LEVEL

BALANCE

CLIP

ALT PREVIEW

MAIN OUTPUT

MUTE

-4

-8

SOLO

MAIN

-12

-16

-20

POWER

SOLO

LEVEL

1/LEFT 2/RIGHT

LEVEL

SOLO/PHONES

+10

NOTES

BAL / UNBAL MAIN OUTPUTS

LEFT

MONO

RIGHT

MONITOR

Ad jingle: Client was a real dork

Vocalist barfed on the Neumann

Sequencer had electronic amnesia

Ran out of patch cords

Band members wanted bass EQ turned up to +15

Monitor speakers toasted themselves at 3AM

Band members thrown out of control room

Ordered gut-bomb pizza

MACKIE DESIGNS•WOODINVILLE•WA•USA•1-800-258-6883

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This is the back of a master track sheet, which

came in the Mackie CR-1604 Manual

If you find this sheet in a copy machine, please

return it to the engineer/owner of the console,

Download from Www.Somanuals.com. All Manuals Search And Download.

SEMIOFFICIAL LAST PAGE

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Whaddya say on the

last page of a manual?

Well, we’d like to roll

the credits.

Film output by Art-

works of Woodinville.

Set in ITC Century

Condensed and Adobe

Futura Condensed via

PageMaker^®5.0 for the Macintosh^®.

The bulk of this manual was written by Ron

Koliha. Technical revisions by Keith Medley,

Paul Larson, Scott Garside, Jason Hill, Brian

McCully, Sara Drake and Jeff Gilbert.

Page layout and Adobe Illustrator^®5.5

technical drawings by Bobby Hougham, Bruce

Yunker, Ron Koliha, Sara Drake and Gene

Endicott.

Additional “help” from P.D., the Mackie

Corporate Chihuahua who shredded several

drawings at various points during the devel-

opment of this manual.

We appreciate users who take the time to

write us with suggestions and corrections to

this manual. It is in a steady state of revision

and we DO read and listen to the comments.

Send them to the Mackie Communications

Department, c/o James Fowler, Minister of

Propaganda (yes, that’s really his title), 16220

Wood-Red Rd. NE, Woodinville, WA 98072.

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16220 Wood-Red Rd. NE • Woodinville • WA • 98072 • USA

Phone 800/258-6883 • FAX 206/487-4337 • Outside the U.S. call 206/487-4333

For literature requests only, 800/898-3211

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