1642-VLZ3
16-Channel Mic/Line Mixer
O W N E R ’ S M A N U A L
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Other Nuggets of Wisdom
Read This Page!
For optimum sonic performance, the channel fad-
ers and the MAIN MIX fader should be set near the “U”
(unity gain) markings.
We realize that you must have a powerful han-
kerin’ to try out your new 1642-VLZ3. Or you
might be one of those people who never reads
manuals. All we ask is that you read this page
NOW, and read the rest later— you’ll be glad you did.
Always turn down the MAIN MIX fader and CONTROL
ROOM and PHONES knobs before making connections
to your 1642-VLZ3, or turning PHANTOM POWER on.
WARNING: Before you plug the AC power
cord into the mixer, make sure the VOLTAGE
SELECTOR switch is set to the same voltage
as your local AC mains supply (see page 13).
If you shut down your equipment, turn off your ampli-
fiers first. When powering up, turn them on last.
Save the shipping box! You may need it someday.
Level-Setting Procedure
Instant Mixing
Message to seasoned pros: do NOT set levels using the
old “Turn the trim up until the clip light comes on, then
back off a hair” trick. When a Mackie mixer clip light
comes on, you really are about to clip.
Here’s how to get going right away, using a
microphone and a keyboard:
1. Plug your microphone into Channel 1’s MIC
input.
This procedure really works — it assures low noise
and high headroom. Please read on.
2. Turn on the 1642-VLZ3.
3. Perform the Level-Setting Procedure.
It’s not even necessary to hear what you’re doing to
set optimal levels. But if you’d like to: Plug headphones
into the PHONES output jack, then set the PHONES
knob about one-quarter of the way up.
4. Connect cords from the MAIN OUT jacks to
your amplifier.
5. Hook up speakers to the amp and turn it on.
6. Set channel 1’s fader to the “U” mark.
7. Engage (push in) Channel 1’s L/R switch.
The following steps must be performed one channel at
a time:
8. Set the MAIN MIX fader one-quarter of the way
up.
1. Turn the GAIN, AUX send and fader controls
fully down.
9. Sing like a canary!
2. Be sure the 1–2, 3–4 and L/R channel assign-
ment switches are all disengaged.
10. Plug your keyboard into channels 3 and 4.
11. Turn channel 3’s PAN knob fully left and chan-
nel 4’s PAN knob fully right.
3. Set the EQ knobs at the center detents.
4. Connect the signal source to the MIC or LINE
channel input.
12. Set those faders to the “U” mark.
13. Perform the Level-Setting Procedure.
14. Engage the L/R switch on these channels.
15. Play like a madman and sing like a canary!
5. Engage (push in) the channel’s SOLO switch.
6. Push in the MODE switch in the output section
(LEVEL SET (PFL) mode) — the LEVEL SET
LED will light.
7. Play something into the selected input, at real-
world levels.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
8. Adjust the GAIN control so that the display on
the meter stays around “0.” (Only the left meter
is active in the Level-Setting Procedure.)
9. If you’d like to apply some EQ, do so now and
return to the previous step.
Purchased at:
10. Disengage that channel’s SOLO switch.
11. Repeat for each channel.
Date of purchase:
Part No. SW0552 Rev. F 01/09
©2007-2009 LOUD Technologies Inc. All Rights Reserved.
Are your teeth really so-brilliantly-white that you can't stand it? Do all the
popular kids all giggle as you walk past on the beach? Me too. Ever thought about
a career as a technical writer?
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Introduction
Thank you for choosing a Mackie professional com-
pact mixer. The 1642-VLZ3 is equipped with our
precision-engineered XDR2TM Extended Dynamic Range
premium studio-grade mic preamps
This icon marks information that is critically
important or unique to the 1642-VLZ3. For your
own good, read them and remember them. They
will be on the final test.
Now that you have your 1642-VLZ3, find out how to get
the most from it. That’s where this manual comes in.
This icon will lead you to in-depth explana-
tions of features and practical tips. While not
mandatory, they usually have some valuable
nuggets of information.
How To Use This Manual
Since many of you folks will want to hook up your
1642-VLZ3 immediately, the first pages you will en-
counter after the table of contents are the ever-popular
hookup diagrams. These show typical mixer setups for
Recording and Stereo PA. After this section is a detailed
tour of the entire mixer.
Appendix A is a section on troubleshooting and repair
information.
Appendix B is a section on connectors: XLR connec-
tors, TRS balanced connectors, TS unbalanced connec-
tors, and Insert connectors.
Appendix C shows the technical specifications, and
a block diagram showing the internal signal path and
general goings-on within the mixer.
Every feature of the 1642-VLZ3 is described “geo-
graphically;” in other words, in order of where it is
physically placed on the mixer’s top or rear panel. These
descriptions are divided into the first three sections,
just as your mixer is organized into three distinct zones:
Patchbay: The patchbay along the top and back,
where you connect things.
Channel Strip: The channel strips on the left where
you adjust each channel.
Output Section: The output section on the right.
Throughout these chapters you’ll find illustrations,
with each feature numbered. If you’re curious about a
feature, simply locate it on the appropriate illustration,
notice the number attached to it, and find that number
in the nearby paragraphs.
Need help with your new mixer?
FAQs (Frequently Asked Questions), manuals, and addendums.
• Telephone 1-800-898-3ꢀ11 to speak with one of our splendid
technical support chaps, (Monday through Friday, normal
business hours, PST).
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Contents
35. AUX 1, 2, 3, & 4.................................... 17
36. PRE....................................................... 17
APPENDIX C: TECHNICAL INFORMATION................ 28
SPECIFICATIONS ............................................. 28
BLOCK DIAGRAM............................................ 29
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Mic 1-5
Guitar
Bass
Stereo Compressors
Mono Effects
Guitar
Keyboard
Drum
Machine
Stereo Effects
Turntable
Mono EQs, M-1400i Amps,
and (C300) Passive Stage Monitors
Phono preamp
Additional
stereo source
Active
PASpeaker/
Subwoofer
Processor
Processor
combination
(Pole-mounted
SRM450s and
SRS1500 active
Subwoofers
pictured)
Stereo Processor
CD Player
Digital Multitrack
Recorder
Headphones
Live Stereo PA System
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Patchbay Description
1
2
4
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level instruments
and effects, and the ultimate destination for your sound:
a tape recorder, PA system, etc. Many of the features de-
scribed in this section are on top of the mixer, but some
are on the rear panel.
1. MIC INPUTS
We use phantom-powered, balanced microphone
inputs just like the big studio mega- consoles, for
exactly the same reason: This kind of circuit is excel-
lent at rejecting hum and noise. You can plug in almost
any kind of mic that has a standard XLR-type male mic
connector. Always be sure to perform the Level-Setting
Procedure. If you wire your own connectors, make them
like this:
See Appendix B for further details and drawings of
the connectors you can use with the 1642-VLZ3. Also see
the Channel Strip description on page 14 for details of
the signal routing from the XLR and Line inputs.
Pin 1 = ground or shield
Pin 2 = positive (+ or hot)
Pin 3 = negative (– or cold)
E-Z INTERFACING
Concerned about levels, balancing, impedanc-
es, polarity, or other interface goblins? Don’t
be. On your 1642-VLZ3, you can patch anything almost
anywhere, with nary a care. Here’s why:
Professional ribbon, dynamic, and condenser mics will
all sound excellent through these inputs. The 1642-
VLZ3’s mic inputs will handle almost any kind of mic
level you can toss at them, without overloading.
•
•
•
•
•
•
Every input and output is balanced (except
inserts, phones and RCA jacks).
Not every instrument is made to connect directly to a
mixer. Guitars commonly need a Direct Injection (DI)
box to connect to the mixer's MIC inputs. These boxes
convert unbalanced line-level signals from your guitar,
into balanced mic-level outputs, and provide signal and
impedance matching. They also let you send your gifted
guitar renditions over long cables or audio snakes, with
minimum interference and high-frequency signal loss.
Ask your dealer or guitar maker about their recommen-
dations for a good DI box.
Every input and output will also accept unbal-
anced lines (except XLR jacks).
Every input is designed to accept virtually any
output impedance.
The main left and right mix outputs can deliver
28 dBu into as low as a 600 ohm load.
All the other outputs can deliver 22 dBu into as
low as a 600 ohm load.
All the outputs are in phase with the inputs.
PHANTOM POWER
All we ask is that you perform the Level-Setting Pro-
cedure on page 3, every time you patch in a new sound
source. So stop worrying and start mixing!
Most condenser mics require phantom power, where
the mixer sends low-current DC voltage to the mic’s
electronics through the same wires that carry audio.
The 1642-VLZ3’s phantom power is globally controlled
by the PHANTOM [22] switch on the rear panel.
MIC AND LINE INPUT FLEXIBILITY
Channels 1-8 are mono channels with MIC [1] and
LINE [2] inputs, featuring our XDR2 Extended Dynamic
Range mic preamp circuitry. Channels 9-10 and 11-12
are stereo pairs with left and right LINE inputs and a
single MIC input feeding each pair. Channels 13-14 and
15-16 are stereo pairs with LINE inputs only.
Semipro condenser mics often have batteries to ac-
complish the same thing. “Phantom” owes its name to an
ability to be “unseen” by dynamic mics (Shure® SM57/
SM58, for instance) that don’t need external power and
aren’t affected by it.
8
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Unless you know for certain it is safe to do
so, never plug single-ended (unbalanced)
microphones, instruments, ribbon mics, or
electronic devices into the MIC [1] input jacks if the
phantom power is on.
This 15 dB of attenuation can be very handy when you
are inserting a signal that is very hot, or you want to add
a lot of EQ gain, or both. Without this “virtual pad,” a
scenario like this might lead to channel clipping.
The GAIN controls for stereo channels 9-10 and 11-12
are only used to adjust the Mic inputs. The line inputs
are set to unity gain.
2. LINE INPUTS
These 1/4" jacks share circuitry (but not phantom
power) with the mic preamps. You can use these inputs
for virtually any signal you’ll come across, from instru-
ment levels as low as –50 dB to operating levels of –10
dBV to +4 dBu, as there is 45 dB of gain available via the
GAIN [3] knob. Note that channels 1-8 line inputs are
intially attenuated by 15 dB.
The GAIN controls for channels 13-14 and 15-16 only
adjust the line-level inputs, as they have no Mic inputs.
4. INSERT
Found only on channels 1–8, these 1/4" unbalanced
jacks are for connecting serial effects processors such
as compressors, equalizers, de-essers, or filters. The
insert point is after the GAIN [3] control, but before the
channel’s EQ [32], LOW CUT [34], FADER [25] and
MUTE [30] controls.
Always be sure to perform the Level-Setting Proce-
dure (page 3) when you connect a new input.
To learn how signals are routed from these inputs,
see the details lovingly described in the Channel Strip
section.
Insert cables must be wired thusly:
SEND to processor
To connect balanced lines to these inputs, use a 1/4"
tip-ring-sleeve (TRS) plug, the type found on some
stereo headphones:
ring
“tip”
(TRS plug)
tip
sleeve
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring”
RETURN from processor
Tip = positive (+ or hot)
Ring = negative (– or cold)
Sleeve = shield or ground
Tip = send (to effects device input)
Ring = return (from effects device output)
Sleeve = common ground
To connect unbalanced lines to these inputs, use a
1/4" mono (TS) phone plug or standard instrument
cable:
Even though channels 1–8 already have DIRECT OUT
[5] jacks, INSERT jacks can also be used as channel
direct outputs (as they are post-GAIN, pre-EQ, pre-LOW
CUT, pre-FADER, and pre-MUTE).
Tip = signal (+)
Sleeve = ground
Appendix B, page 27 has a lovely diagram (Figure F)
showing three ways you can use the INSERT jacks.
3. GAIN
These controls are not in the patchbay, but
they are the top row of knobs in the channel
strip section. (They are so vitally linked with
the inputs, this seemed like a good place to
describe them.)
3
Every time you plug something into a
MIC [1] or LINE [2] input jack, you should
perform the Level-Setting Procedure, and that
procedure is basically “how to use the GAIN
knob.”
GAIN adjusts the input sensitivity of the
MIC and LINE inputs. This allows signals
from the outside world to be adjusted to
optimal internal operating levels.
Through the XLR jack (MIC), there
will be 0 dB of gain with the knob fully
down, ramping to 60 dB of gain fully up.
Through the 1/4" input (LINE), there
is 15 dB of attenuation fully down and 45
dB of gain fully up, with unity gain (U) at 10:00.
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6
5
9
8
7
5. DIRECT OUT
Double Busing
Only on channels 1–8, these 1/4" balanced jacks
How on earth do you get four buses to feed
eight tracks? Double busing!
deliver the signal from the very end of the channel path;
post-GAIN [3], post-EQ [32], post-LOW CUT [34], post-
FADER [25], and post-MUTE [30]. Use these for record-
ing, making the 1642-VLZ3 perfect for an 8-track studio.
•
Bus 1 feeds SUB OUT 1 and SUB OUT 5, which
in turn feed tracks 1 and 5
•
•
•
Bus 2 feeds SUB OUT 2 and SUB OUT 6, which
in turn feed tracks 2 and 6
RECORDING
Bus 3 feeds SUB OUT 3 and SUB OUT 7, which
in turn feed tracks 3 and 7
When recording, you use the first two channels for
your sound sources: vocal mics, drum mics, keyboard/
synth outputs, guitar effects outputs, that sort of thing.
From there, the channels manipulate the sound, but
are not assigned to the output section. Instead, they’re
patched from the channel’s DIRECT OUT [5] jacks to
any of your 8 multitrack inputs. This allows recording of
two tracks at a time. By reconnecting the Direct Outs to
the different tape inputs, you can record to all of the 8
tracks.
Bus 4 feeds SUB OUT 4 and SUB OUT 8, which
in turn feed tracks 4 and 8
Patch the 8 SUB OUTs to the inputs of the 8-track
deck. Tracks in record mode will accept the signal, and
tracks in safe mode will ignore the signal.
The advantages: You can assign any channel to any
track, without repatching. You can assign multiple chan-
nels to one track and control the overall level of that
subgroup. You can’t bounce tracks without this feature.
Once the tracking is completed, the outputs of the
multitrack are then patched to channels 3-12 LINE
[2] inputs on the 1642-VLZ3 (multitrack out 1 to LINE
input 3, 2 to 4, 3 to 5, etc.). Aha! That’s why it says
“TRACK 1” next to channel 3’s fader, “TRACK 2” next to
channel 4, and so forth. These channels (3–12) will be
assigned to the mixer’s output section, delivering the
signals to their ultimate destination, which may be your
mixdown 2-track, your control room system, or your
headphones.
By returning the outputs of the effects processors to
13/14 (EFX A) and 15/16 (EFX B), you can choose to
record or Monitor with effects.
Perhaps the best recording method is a combination
of both approaches: Use the SUB OUTS to feed mul-
tichannel submixes (like a drum kit) to some of the
tracks, and the DIRECT OUT jacks to feed single-chan-
nel signals (like bass guitar) to the other tracks.
But let’s not forget that the 1642-VLZ3 is a 4-bus
mixer. These buses lead to the SUB OUTS [8], and are
designed to accomplish the task of getting channels to
the multitrack without using the direct outputs.
The point is that you never listen directly to the
source channels. You listen to the monitor channels
(3–12) and they’re listening to the multitrack that is
listening to the source channels. The main advantage
is that you won’t be forced to constantly repatch your
multitrack — just set it up and forget it. You’ll also
know for certain that the signals are indeed getting to
the multitrack, since you’re constantly listening to it.
For example, a channel is assigned to SUB OUT 1.
SUB OUT 1’s output is patched to multitrack input 1.
From there, the multitrack output goes to the mixer’s
channel 3 LINE input, as we just discussed.
10
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Another method of interfacing a multitrack is called
in-line monitoring, and requires a mixing console
dedicated to that, like the Mackie 8•Bus. Each of its
channels is actually two channels: one carrying the mic/
line sound source and the other carrying the multitrack
output.
8. SUB OUTS
These 1/4" jacks are usually patched to the inputs of a
multitrack deck, or to secondary amplifiers in a complex
installation. See page 18 for details of the SUBGROUP
FADERS [38]. (See also the discussion on double bus-
ing on the previous page.)
6. AUX SEND OUTPUTS
9. C-R OUTS (CONTROL ROOM OUTPUTS)
These 1/4" jacks usually patch to the inputs of your
parallel effects devices or to the inputs of your stage
monitor amps. To learn how signals are routed to these
outputs, see the Aux discussion on page 21.
These 1/4" jacks are usually patched to the inputs of
your control room amplifier or a headphone distribution
amplifier. See page 19, CONTROL ROOM and PHONES
[43] for details of the signal routing to these outputs.
EFFECTS: SERIAL OR PARALLEL?
You’ve heard us carelessly toss around the terms “se-
rial” and “parallel.” Here’s what we mean by them:
10. PHONES OUTPUTS
These stereo 1/4" phones
jacks will drive any stan-
dard headphone to very
loud levels. Walkperson-
type phones can also be
“Serial” means that the entire signal leaves the mixer
(INSERT send), is routed through the effects device,
and returns to the mixer (INSERT return). Examples:
compressor, limiter, graphic equalizer. Line-level
sources can also be patched through a serial effects
device before or after the mixer.
used with an appropriate
10
adapter. See page 19, CON-
TROL ROOM and PHONES
[43] for details of the
Insert
Send
Insert
Return
signal routing to these outputs.
Signal Processor
(e.g., Compressor)
Processed
Signal
Dry Signal
If you’re wiring your own cable for the PHONES out-
put, follow standard conventions:
Tip = left channel
“Parallel” means that a portion of the signal in the
mixer is tapped off to the device (AUX SEND), pro-
cessed, and returned to the mixer (STEREO RETURN)
to be mixed with the original “dry” signal. This way,
multiple channels can all make use of the same effects
device. Examples: reverb, digital delay.
Ring = right channel
Sleeve = common ground
WARNING: When we say the headphone
amp is loud, we’re not kidding. It can cause
permanent ear damage. Even intermediate
levels may be painfully loud with some earphones. BE
CAREFUL!
Aux
Aux
Output
Section
Send
Return
Signal Processor
(e.g., Reverb)
Wet Signal
Always turn the PHONES knob all the way
down before connecting headphones. Keep
it down until you’ve put the phones on. Then
turn it up slowly. Why? “Engineers who fry their ears
find themselves with short careers.”
Mix
Processed
Signal
Stage
Channel Path
Dry Signal(s)
Dry Signal(s)
7. STEREO RETURN INPUTS
This is where you connect the outputs of your parallel
effects devices (or extra audio sources). There are four
stereo returns. They’ll accept just about any pro or semi-
pro effects device on the market. See page 22 for details
of the STEREO RETURN [51] level controls.
Mono: If you have an effects device with a mono
output (one cord), plug that into the left input of a
STEREO RETURN and leave the right input unplugged.
That way, the signal will be sent to both sides, magically
appearing in the center as a mono signal.
11
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13. MAIN INSERT
These 1/4" jacks are for connecting serial effects such
as compressors, equalizers, de-essers, or filters. The IN-
SERT point is after the mix amps, but before the MAIN
MIX fader. Insert cables must be wired thusly:
17
SEND to processor
16
ring
“tip”
(TRS plug)
tip
sleeve
18
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring”
RETURN from processor
20 22
19
14 15 14 13
11
Tip = send (to effects device inputs)
Ring = return (from effects device outputs)
11. TAPE OUTPUT
Sleeve = common ground (connect shield to all
three sleeves)
These unbalanced
RCA jacks tap the main
mix outputs to make
simultaneous record-
ing and PA work more
convenient. Connect
these to your 2-track
recorder’s inputs.
12
14. MAIN OUTS
Two sets of jacks are provided for the main out-
puts: 1/4" TRS jacks and XLR jacks. These are usually
patched to the inputs of your 2-track mixdown deck
(unless you’ve chosen to use the TAPE OUTPUT [11]
RCA jacks), or to the house amplifier during live sound
sessions.
See MAIN MIX
FADER [37] on page
18 for details of the
signal routing to these outputs.
In addition, the XLR MAIN OUTS have a switch to
match the signal level to the input of the device you're
connecting them to. Push the switch in to reduce
the output by 40 dB, so you can feed the mic input of
another mixer, for example. Leave the switch out to
connect to professional +4 dBu devices. To learn how
signals are routed to these outputs, see page 18, MAIN
MIX FADER [37].
Mono: If you want to feed a mono signal to your tape
deck or other device, use the 1/4" MONO [15] output
jack instead.
12. TAPE INPUT
To use the 1/4" outputs to drive balanced inputs, con-
nect 1/4" TRS (Tip-Ring-Sleeve) phone plugs like this:
These unbalanced RCA jacks are designed to work
with semipro as well as pro recorders. Connect your
2-track tape recorder’s outputs here, using quality hi-fi
RCA cables. To learn how signals are routed from these
inputs see page 19, TAPE IN LEVEL [40].
Tip = + (hot)
Ring = – (cold)
Sleeve = ground
Use these jacks for convenient playback of your mixes.
You’ll be able to review a mix, and then rewind and try
another pass without repatching or disturbing the mixer
levels. You can also use these jacks with a portable tape
or CD player to feed music to a PA system between sets.
To use these outputs to drive unbalanced inputs, con-
nect 1/4" TS (Tip-Sleeve) phone plugs like this:
Tip = signal
Sleeve = ground
NOTE: Pushing TAPE TO MAIN MIX [41]
in the output section automatically discon-
nects the TAPE [11] OUTPUT from the main
outputs. This prevents creating a feedback loop, which
could create quite a howl in your system (and your audi-
ence!)
15. MONO OUTPUT
It happens to everybody sooner or later: The forces
that govern your world will demand a monaural output
from your painstakingly-created stereo panorama. The
last thing you want to do is start twirling all your care-
fully-placed PAN [31] settings to one side. What to do?
Stick a cord in this 1/4" jack, hand the other end to Mr.
Mono, and you’re done. He’s got his mono mix and you’ve
still got your stereo mix. The MONO output is nothing
more than a sum of the left and right main mix.
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standby mode. It will not function, but the circuits are
still live. To remove AC power, either turn off the AC
mains supply, or unplug the power cord from the mixer
and the AC mains supply.
16. MONO LEVEL
If Mr. Mono's main mono mix is maxed, just reach for
this knob and turn it down a bit. Just the thing for send-
ing mono signals to mic inputs like camcorders, tele-
phone interface boxes, even answering machines. With
the pot all the way up (fully clockwise), you’ll have 6 dB
of extra gain, and unity gain is at the 12 o'clock position.
As a general guide, you should turn on your mixer
first, before the power amplifier or powered speakers,
and turn it off last. This will reduce the possibilities of
any turn-on, or turn-off thumps in your speakers.
17. VOLTAGE SELECTOR
21. POWER LED
You’ve probably already
figured this out, but if the
WARNING: Before you plug the AC power cord
into the 1642-VLZ3, you must make sure that
this slide switch is set to the same voltage as
your local AC main supply. Only slide the voltage switch
with the power cord unplugged.
24
POWER [20] switch is on, this
LED (light-emitting do-hicky)
will light. If the switch is off,
well, you get the idea. If the
POWER [20] switch is on and
the LED does not glow, one of
three things has happened:
Somebody tripped over the
power cord and yanked it from
Use a flat headed screwdriver to slide the switch if
needed. The switch allows you to use the mixer in dif-
ferent countries and voltages, meet interesting people
from other cultures, and entertain them.
18. POWER CONNECTION
Just in case you lose the cord provided with the 1642- the outlet, your electricity has
VLZ3, its power jack accepts a standard 3-prong IEC
cord like those found on most professional recorders,
musical instruments, and computers.
been turned off due to nonpay-
ment, or the FUSE [19] has
blown.
23 21
WARNING: Before you plug the AC power cord
into the 1642-VLZ3, you must make sure that
22. PHANTOM SWITCH
the VOLTAGE SELECTOR [17] slide switch is
set to the same voltage as your local AC mains supply.
This switch controls the phantom power supply for
condenser microphones as discussed on page 8. When
turned on (or off), the phantom power circuitry takes a
few moments for voltage to ramp up (or down). This is
perfectly normal.
WARNING: Disconnecting the AC mains plug’s
ground pin can be dangerous. Please don’t do
it.
23. 48V LED
19. FUSE
This is just to let you know which way you have the
PHANTOM [22] switch set. If your dynamic mics work
and your condensers don’t, chances are this LED is off,
so turn the PHATOM switch on.
The 1642-VLZ3 is fused for your (and its own) protec-
tion. If you suspect a blown fuse, disconnect the power
cord, pull the fuse drawer out (located just below the
cord receptacle) and replace the fuse with a 1 A SLO
BLO, 5x20mm, available at electronics stores or your
You’ll notice that when you turn the phantom power
dealer (or a 0.5 A SLO BLO 5x20mm if your 1642-VLZ3 is off, the LED stays on for a while. This is a natural phe-
set to 220V-240V).
nomenon — the LED is actually a voltmeter telling you
that the phantom power takes time to ramp itself down
to zero volts. So, if you’ve turned phantom power off to
connect something to the mic inputs, wait until the LED
stops glowing and then make your connections safely.
If two fuses blow in a row, something is very wrong.
Please call our toll-free number 1-800-898-3211 from
within the U.S. (or call the distributor in your country)
and find out what to do.
24. BNC LAMP SOCKET
20. POWER SWITCH
Located in the top right corner of the output sec-
tion, this 12V socket will drive any standard BNC-type
lamp (a Littlite® #12G or #12G-HI (high-intensity), for
instance).
Press the top of this rocker switch inwards to turn
on the mixer. The POWER LED [21] on the top surface
of the mixer will glow with happiness, or at least it will
if you have the mixer plugged in to a suitable live AC
mains supply.
Press the bottom of this switch to put the mixer into
13
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Channel Strip Description
There are eight mono, and four stereo channel strips.
Many of the functions are identical for the mono and
stereo channels. We’ll start at the bottom and work our
way up, pointing out the differences as we go along.
26. ASSIGN (1–2, 3–4, L/R)
Alongside each channel fader are four buttons,
labeled SOLO, 1–2, 3–4 and L/R. The bottom three are
collectively referred to as channel assignment switches.
1, 3 and L are the left sides of these stereo pairs, and
2, 4 and R are the right sides. Used in conjunction with
the channel’s PAN [31] knob, these switches determine
the destination of a channel’s signal: With the PAN knob
set at the center detent, the left and right sides receive
equal signal levels. To feed only one side or the other,
just turn the PAN knob accordingly.
“U” LIKE UNITY GAIN
Mackie mixers have a “U” symbol on almost
every level control. This “U” stands for “unity
gain,” meaning no change in signal level. Once you have
performed the Level-Setting Procedure, you can set
every control at “U” and your signals will travel through
the mixer at optimal levels. Also, the
If you’re doing a mixdown to a 2-track, simply engage
the L/R switch on each channel that you want to hear,
and they’ll be sent to the main mix. If you want to create
a subgroup of certain channels, engage either the 1–2
or 3–4 switches instead of the L/R, and they’ll be sent
to the appropriate subgroup faders. From there, the
subgroups can be sent back to the main mix, allowing
you to use the subgroup faders as a master control for
those channels.
labels on our controls are measured
in decibels (dB), so you’ll know what
you’re doing level-wise if you choose to
change a control’s settings.
25. CHANNEL FADER
The fader is almost the last control in
a channel’s signal path. It’s placed after
the EQ [32] and MUTE [30] (post-EQ
/post-MUTE), and before PAN [31]
(pre-PAN). The “U” mark, about three-
quarters of the way up, indicates unity
gain, meaning no increase or decrease
of signal level. All the way up provides
an additional 10 dB, should you need to
boost a section of a song. If you find that
the overall level is too quiet or too loud
with a fader near unity, you’ll want to
If you’re printing new tracks or bouncing existing
ones, you’ll also use the 1–2 and 3–4 switches, but not
the L/R switch. Here, you don’t want the subgroups sent
back into the main mix, but sent out, via the SUB OUT
[8] jacks, to your multitrack inputs. However, if you’re
printing tracks via the DIRECT OUT [5] jacks, all the
channel assign switches should be disengaged (up).
The 1642-VLZ3 is what we call a “true 4-bus mixer.”
Each channel can be assigned or unassigned to any of
confirm the GAIN setting by performing the subgroups without affecting the other subgroups or
the Level-Setting Procedure.
settings within the channel, and each subgroup has its
own master fader and dedicated output. In fact, since
there are 4 subgroups and the main L/R mix, it’s actually
a true 6-bus mixer.
A Clean Fade
Faders are not rocket science
— they operate by dragging a
metal pin (the wiper) across
27. SOLO
a carbon-based strip (the track). It is
possible for airborne crud to land on
the track. Should that happen, you may them to the L/R, 1-2 or 3-4 mixes.
hear scratchy noises or signal dropouts
This lovable switch allows you to check signals in your
headphones and control room without having to assign
31
30
You can solo as many channels as you like. SOLO does
as the wiper stumbles over the crud. Do
all you can to keep airborne crud out
of your profession. Use air conditioned
rooms whenever possible, avoid smok-
ing near the mixer, keep food and drink
away from the mixer, and for pity’s sake,
never put the mixer in your kitchen! We
also recommend “exercising” the faders
— give them a walk up and down once
a week or so, and that will help scare
the crud away. We do not recommend
spray cleaners.
29
28
not interrupt any of the other channels, buses or out-
puts — that’s called nondestructive solo. When SOLO is
pressed, that channel's -20 (SOLO) LED [28] will light
constantly, so you can easily catch any channels which
have been soloed by those naughty SOLO pixies.
27
Using the MODE [44] switch, the 1642-VLZ3’s solo
system comes in two flavors: NORMAL (AFL) (some-
times called SIP, or solo-in-place) and LEVEL SET
(PFL) (sometimes called PFL, or pre-fader-listen). The
MODE switch is described on page 20.
26
25
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LEVEL SET (PFL) taps the channel signal
before the fader. If you have a channel’s fader
set way below “U” (unity gain), SOLO won’t
30. MUTE
Engaging a channel’s MUTE switch provides the same
results as turning the fader all the way down: Any chan-
nel assignment to L/R, 1-2 or 3-4 will be interrupted. All
the post AUX sends will be silenced, as will the DIRECT
OUT [5] signals on channels 1 through 8. And of course,
that fun-loving OL (MUTE) LED [29] will commence
to glow. The PRE AUX sends, channel INSERT [4]
send and SOLO [27] (in LEVEL SET (PFL) mode) will
continue to function during MUTE.
know that and will send a unity gain signal to the con-
trol room, headphones, and meters. That may result in a
startling level boost at these outputs, depending on the
position of the SOLO [46] level knob.
In a nutshell, soloed channels are sent to the SOURCE
[42] mix, that ultimately feeds your control room,
headphones, and meters. Whenever SOLO is engaged,
all SOURCE selections (MAIN MIX, 1–2, 3–4 and TAPE)
are defeated, to allow the soloed channel to do just that
— SOLO!
Depending on the audio content in a channel, engag-
ing its MUTE switch may cause a slight popping sound.
This is not a problem within the mixer, and it can be
avoided: Simply engage the LOW CUT [34] switch on
each channel (unless its low frequency content is vitally
important, such as a kick drum or bass guitar). LOW
CUT eliminates subsonic debris, which causes the pop,
and its effect is usually transparent.
28. –20 (SOLO) LED
An LED that does two completely different things!
This saves space, but requires some explanation.
First, the “–20” part: Often referred to as “signal activ-
ity,” this LED will flicker in time with the signal present
in that channel. It’s handy for confirming that a channel
is indeed active, and may also lend a clue as to what the
signal is. For instance, a kick drum will cause the LED
to pulse in time with the drum, and a synth pad will
cause it to glow a bit more steadily.
31. PAN
PAN adjusts the amount of channel signal sent to the
left versus the right outputs. PAN determines the fate
of the L/R assignment, subgroups 1–2 and 3–4, and the
SOLO [27] (in NORMAL (AFL) mode).
With the PAN knob hard left, the channel signal will
feed the left main mix, subgroup 1, subgroup 3 and left
NORMAL (AFL) solo mode (assuming their assignment
switches are engaged).
Now for the “SOLO” part: When a channel’s SOLO [27]
switch is engaged, this LED will glow steadily. It will
also be brighter than it would be as a –20 indicator. In
conjunction with the RUDE SOLO LIGHT [47], you can
find a rogue SOLO switch very quickly.
With the knob hard right, the channel signal feeds
the right main mix, subgroup 2, subgroup 4 and right
NORMAL (AFL) solo mode.
29. OL (MUTE) LED
Another LED that does two different things!
With the PAN knob set somewhere in-between left
and right, the signal will be divided between the left and
right buses.
First, the “OL” part: “OL” means overload, or clip. You
don’t want that to happen. Ever. Clipping can happen
to any mixer — it’s the point where the signal’s volt-
age tries to exceed the supply voltages that power the
circuitry. This OL LED will come on just before clipping,
so if you see it, take immediate action: Perform the
Level-Setting Procedure. If that doesn’t help, check for
excessive use of EQ boost or fader gain. Like the –20
LED, it will flicker in time with that channel’s signal.
The PAN knob behaves a little differently for the ste-
reo channel strips. Since there is a left and right input
on these channels, the PAN knob controls the relative
balance between the left and right sides, just like the
balance control on your stereo system at home.
Stereo Sources
Now for the “MUTE” part. Assuming your levels are
set correctly, the OL LED will never come on as a result
of clipping. That’s pretty boring. So, to liven things up,
this LED will glow steadily when that channel’s MUTE
switch is engaged.
Use channels 9-16 to connect stereo sound sources. If
you must use the mono channel strips (1-8) for stereo
sources, follow this standard convention: Always plug
the left signal into an “odd” channel (1, 3, 5, etc.) and
the right signal into the adjacent “even” channel (2, 4, 6,
etc.). Then pan the odd channel hard left and the even
channel hard right.
Here is a quick reference to these LEDs:
Name
Color
green
red
Flickering
Glowing
–20 (SOLO)
OL (MUTE)
signal present
channel clipping
channel soloed
channel muted
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The MID EQ , or “midrange,” has a fixed bandwidth of
1 octave. The MID knob sets the amount of boost or cut,
up to 15 dB, and is effectively bypassed at the center
detent. The frequency knob sets the center frequency,
sweepable from 100 Hz to 8 kHz.
CONSTANT LOUDNESS ! ! !
The 1642-VLZ3’s PAN [31]
controls employ a design
34
called “Constant Loudness.”
It has nothing to do with living next to
a freeway. As you turn the PAN knob
from left to right (thereby causing
the sound to move from the left to the
center to the right), the sound will ap-
pear to remain at the same volume (or
loudness).
+15
+15
+10
+5
0
+10
+5
0
–5
–5
–10
–15
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
100Hz
1kHz
10kHz 20kHz
If you have a channel panned hard
left (or right) and reading 0 dB, it
must dip down about 4 dB on the left
(or right) when panned center. To do
otherwise, like those Brand X mixers,
would make the sound appear much
louder when panned center.
Most of the root and lower harmonics that define a
sound are located in the 100 Hz–8 kHz frequency range,
and you can create drastic changes with these two
knobs. Many engineers use MID EQ to cut midrange
frequencies, not boost them. One popular trick is to set
the MID fully up, turn the frequency knob until you find
a point where it sounds just terrible, then back the MID
down into the cut range, causing those terrible frequen-
cies to disappear. Sounds silly, but it works. Sometimes.
32
32. 3-BAND MID-SWEEP EQ
The eight mono channels have a
3-band, mid-sweep equalization: LOW
shelving at 80 Hz, MID sweep peaking
from 100 Hz to 8 kHz, and HI shelving
at 12 kHz. It’s probably all the EQ you’ll
ever need! (Shelving means that the
circuitry boosts or cuts all frequen-
cies past the specified frequency. For
example, the 1642-VLZ3’s LOW EQ
boosts bass frequencies starting at 80
Hz and continuing down to the lowest
note you never heard. Peaking means
that certain frequencies form a “hill”
around the center frequency.)
The HI EQ provides you up to 15 dB boost or cut
above 12 kHz, and it is also flat at the detent. Use it to
add sizzle to cymbals, an overall sense of transparency,
or an edge to keyboards, vocals, guitar and bacon frying.
Turn it down a little to reduce sibilance or to mask tape
hiss.
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
With too much EQ, you can screw things up royally.
We’ve designed a lot of boost and cut into each equal-
izer circuit because we know everyone will occasionally
need that. But if you max the EQ on every channel,
you’ll get mix mush. Equalize subtly and use the left
sides of the knobs (cut), as well as the right (boost).
If you find yourself repeatedly using full boost or cut,
consider altering the sound source, such as placing a
mic differently, trying a different kind of mic, changing
the strings, or gargling.
The LOW EQ provides up to 15 dB
boost or cut below 80 Hz. The circuit
is flat (no boost or cut) at the center
detent position. This frequency repre-
sents the punch in bass drums, bass
guitar, fat synth patches, and some
really serious male singers.
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Used in conjunction with the LOW CUT [34] switch,
you can boost the LOW EQ without injecting a ton of
subsonic debris into the mix. We recommend using the
LOW CUT feature on all channels, except low frequency
signals, like kick drums and bass guitars.
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using AUX 1 or 2 in the PRE [36] mode,
these mix levels can be obtained indepen-
dently of a channel’s fader settings.
33. 4-BAND FIXED-FREQUENCY EQ
The stereo channels (9-16) have a 4-band, fixed-fre-
quency equalization: LOW shelving at 80 Hz, LOW MID
peaking at 400 Hz, HI MID peaking at 2.5 kHz, and HI
shelving at 12 kHz.
34
35
36
We recommend going into a ste-
reo reverb in mono and return-
ing in stereo. We have found
that on most “stereo” reverbs,
Each of these filters provides up to 15 dB of boost or
cut. As with the mono channels, the circuit is flat (no
boost or cut) at the center detent positions.
the second input just ties up an extra
aux send and adds nothing to the sound.
There are exceptions, so feel free to try it
both ways. Should you choose to use two
aux sends, use the “odd” AUX (1 or 3) to
feed its left input and the “even” AUX (2
or 4) to feed the right input. Remember,
34. LOW CUT
The LOW CUT switch (not present on channels
13-16), often referred to as a high pass filter, cuts bass
frequencies below 75 Hz at a rate of 18 dB per octave.
This ain’t no thrown-in dime-store filter — an 18 dB per if you’re also dealing with a stereo source
octave curve requires an elaborate circuit. Nothing but
the best for you.
signal, you’ll want to follow the sides
— use the odd AUX on the channel carry-
ing the left side and the even AUX on the
channel carrying the right.
We recommend that you use this on every sound
source except kick drum, bass guitar, and bassy synth
patches. These aside, there isn’t much down there that
you want to hear, and filtering it out makes the low stuff
you do want much more crisp and tasty. Not only that,
but low cut can help reduce the possibility of feedback
in live situations, and it helps to conserve amplifier
power.
33
36. PRE
This switch determines the tap point
of AUX 1 and 2. Generally, “post” sends
are used to feed effects devices, and “pre”
sends are used to feed your stage moni-
tors. See the “Pre vs. Post” diagram below.
AUX 3 and 4 are always in post mode.
With LOW CUT, you can safely boost LOW EQ. Many
times, bass shelving eq can really benefit voices. Trouble
is, adding LOW EQ also boosts the subsonic debris:
Stage rumble, mic handling clunks, wind noise and
breath pops. LOW CUT removes all that debris so you
In post mode (switch up), AUX 1 and 2
will follow the EQ [32], LOW CUT [34],
FADER [25] and MUTE [30] settings. If
can boost the LOW EQ without frying your woofer. Here’s you fade the channel, you fade the send.
a frequency curve of LOW EQ combined with LOW CUT: This is a must for effects sends, since you
want the levels of your “wet” signals to
+15
follow the level of the “dry.”
+10
+5
In PRE mode (switch down), AUX 1
and 2 follow the GAIN [3] and LOW CUT
0
–5
–10
settings only. EQ, PAN [31], FADER and
–15
20Hz
100Hz
1kHz
10kHz 20kHz
MUTE settings have no effect on the PRE
sends. This is the preferred method for
setting up stage monitor feeds — they’ll
be controlled independently of the fader
and mute moves.
35. AUX 1, 2, 3, & 4
These four knobs tap a portion of each channel’s
signal, mix them together and send them to the AUX
SEND [6] outputs. They are off when turned fully down,
deliver unity gain at the center detent, and can provide
up to 15 dB of gain turned fully up. Chances are you’ll
never need this extra gain, but it’s nice to know it’s
there if you do.
MUTE
PAN
ASSIGN
LOW
CUT
INPUT
GAIN
INSERT
EQ
FADER
AUX 1
'PRE' SIGNAL
'POST' SIGNAL
PRE SWITCH
AUX 2
The AUX SEND outputs can then be patched to paral-
lel effects processor inputs or stage monitor amp inputs.
AUX SENDS 1 and 2 levels are controlled not only by the
channel’s AUX knobs, but also by the AUX SEND [49]
master knobs.
AUX SENDS can also be used to generate separate
mixes for recording or “mix-minuses” for broadcast. By
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Output Section Description
The main mix signals are off with the fader fully down,
the “U” marking is unity gain, and fully up provides 10
dB of additional gain. This additional gain will typically
never be needed, but it’s nice to know it’s there. The
fader itself is a stereo version of the channel and sub-
group faders — same supersmooth custom taper, same
dead silence when turned fully down. This is the fader
to pull down at the end of the song when you want “The
Great Fade-Out.”
38. SUBGROUP FADERS
As you might expect, these faders control the levels
of signals sent to the SUB OUT [8] jacks. All channels
that are assigned to subgroups, not muted and not
turned fully down, will appear at the SUB OUTS. Unlike
the MAIN OUTS [14], the subgroup signals do not pass
through an insert jack on their way to the subgroup
faders. That’s no problem — should you want to send
these signals through a serial effects processor, simply
patch from the SUB OUTS to the effect’s input, and from
the effect’s output to whatever the final destination is,
usually a multitrack recorder.
40
41
The subgroup signal is off when its fader is fully down,
the “U” marking is unity gain, and fully up provides 10
dB additional gain. Remember that if you’re treating
two subgroups as a stereo pair, subgroup 1 and 2 for
example, make sure that both subgroup faders “ride”
together, to maintain the left/right balance.
39
39. ASSIGN TO MAIN MIX
One popular use of the subgroups is to use them as
master faders for a group of channels on their way to
the main mix. Let’s say you’ve got a drum kit hogging up
seven channels and you’re going to want to fade them
out at a different rate than the other channels. You don’t
want to try that with seven hands or seven fingers, so
just un-assign these channels from L/R, reassign them
to subgroup 1–2, engage the ASSIGN TO MAIN MIX,
LEFT on subgroup 1 and RIGHT on subgroup 2. Now you
can ride the entire stereo drum mix with two faders — 1
and 2.
37
38
You’ve just learned about the input channels and how
the signals get in and out. The signals come in via MIC
[1] and LINE [2] input jacks, are manipulated by the
channels, and then sent to the output section. In the
output section, things get a bit more complicated, so put
on your thinking caps.
If you engage just one of these switches per subgroup
(left or right), the signal sent to the main mix will be
the same level as the SUB OUTs [8]. If you want a sub-
group to appear in the center of the main mix, engage
both left and right switches for that subgroup. The
signal will be sent to both sides, and will be attenuated
just enough to preserve constant loudness, just like the
channel PAN [31] knobs when set in the center.
37. MAIN MIX FADER
This controls the levels of signals sent to the MAIN
OUTS [14] and TAPE [11] OUTPUT jacks. All channels
and stereo returns that are assigned to the main mix,
that are not muted or turned fully down, will appear at
the MAIN OUTS. Before the main mix gets to this fader,
the signals pass through the MAIN INSERT [13].
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42. CONTROL ROOM SOURCE
Typically, the engineer sends the main mix to a live
audience or to a mixdown deck (if recording). But what
if the engineer needs to hear something other than the
main mix? With the 1642-VLZ3, the engineer has several
choices of what to listen to.
Via these switches, you can choose to listen to any
combination of MAIN MIX, SUBS 1-2, SUBS 3-4 and
TAPE. Selections made here deliver stereo signals to
the control room, headphones, and meter display. These
signals are tapped off as follows — post-MAIN MIX [37]
fader, post SUBGROUP [38] faders, and post-TAPE IN
[40] knob. With no switches engaged, there will be no
signal at these outputs and no meter indication, with
two exceptions: SOLO and STEREO RETURN 4.
Regardless of the SOURCE selection, engaging a SOLO
[27] switch will replace that selection with the SOLO
signal, also sent to the control room, headphones, and
meters. This is what makes the Level-Setting Procedure
so easy to do.
40
41
43
42
Now you know how to select the signals you want
to send to the engineer’s control room and/or phones.
From there, these signals all pass through two level
controls:
43. CONTROL ROOM AND PHONES
These knobs control the level of the stereo C-R OUTS
[9] and PHONES [10] outputs.
You can use the control room outputs for other ap-
plications, such as an additional main mix output with
its own level control. However, should you do this, be
aware that if you engage a SOLO switch, it will interrupt
the mix:
Once again, engaging a SOLO [27] switch will cause
this dramatic turn of events: Any existing SOURCE [42]
matrix selections will be replaced by the SOLO signals,
appearing in the control room, headphones, and meters.
The audible solo levels are controlled by the SOLO [46]
level knob. The SOLO levels appearing on the meter
display are not controlled by anything — you wouldn’t
want that. You want to see the actual channel level on
the meter display, regardless of how loud you’re listen-
ing.
40. TAPE IN (LEVEL)
This knob controls the level of the stereo signal com-
ing from the TAPE [12] INPUT RCA jacks. Its range is
off when fully down, unity at the center detent, with 20
dB additional gain turned fully up, which may come in
handy if you’ve patched in a device with wimpy output
levels. After the TAPE IN level is determined, the stereo
tape signal can be sent to either of two places — the
main mix or the SOURCE [42] matrix.
41. TAPE TO MAIN MIX
Engaging this switch is just like engaging the L/R
switch on a channel — the signal, stereo in this case, is
sent to the main mix. It does not interrupt other signals,
just adds itself to them. This switch can be very handy
in a live sound situation when you want to play soothing
elevator music to an anxious crowd.
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44. MODE (NORMAL (AFL)/LEVEL SET (PFL))
46. SOLO (LEVEL)
You may have already seen some of this in the SOLO
discussion, but in case you missed it: The 1642-VLZ3’s
solo system comes in two flavors:
This knob controls the level of the signals coming
from the SOLO system. It’s range is off when fully down,
unity at the center detent, with 10 dB additional gain
turned fully up. After the SOLO level is determined, the
SOLO signals will proceed to take over the control room,
headphones, and meters.
•
NORMAL (AFL) (sometimes called SIP, or solo-
in-place)
•
LEVEL SET (PFL) (sometimes called PFL, or
pre-fader-listen)
Once again, LEVEL SET (PFL) SOLO taps the
channel signal before the fader. If you have
a channel’s fader set way below “U” (unity
In NORMAL (AFL), the soloed channel’s signal is
sent directly to the control room, headphones, and me-
ters, just as it would sound to the channel’s assignment
switches: post-EQ [32], post-FADER [25] and post-PAN
[31]. The only difference is that SOLO works regardless
of the channel’s assignment positions, and that makes it
really handy — you can check out a channel before you
assign it.
gain), LEVEL SET (PFL) SOLO won’t know that and
will send a unity gain signal to the control room, head-
phones, and meters. That may result in a startling level
boost at these outputs, depending on the position of the
SOLO level knob.
47. RUDE SOLO LIGHT
NORMAL (AFL) is the preferred mode during mix-
down. For example, if the channel has some midrange
boost at 4.2 kHz, is panned a smidgen to the left, and its
fader is at –5 dB, that’s exactly what you’ll hear if you
SOLO during NORMAL (AFL) mode. It’s just as if you
took the time to MUTE all the other channels.
This flashing LED (light emitting diode) serves two
purposes — to remind you that you’re in SOLO, and to
let you know that you’re mixing on a Mackie. No other
company is so concerned about your level of SOLO
awareness. We even force the soloed channel’s –20 LED
to play along, so you can find that rogue switch fast.
LEVEL SET (PFL) solo is the key player in the all-im-
portant Level-Setting Procedure. It’ll send the channel’s
actual internal levels to the meters so you’ll know just
what’s going on, level-wise. This procedure should be
performed every time a new sound source is patched
into a channel’s MIC [1] or LINE [2] input jacks.
If you work on a mixer that has a SOLO function with
no indicator lights, and you happen to forget you’re in
SOLO, you can easily be tricked into thinking that some-
thing is wrong with your mixer. Hence the RUDE SOLO
LIGHT. It’s especially handy at about 3:00 in the morn-
ing, when no sound is coming out of your monitors, even
though your multitrack is playing back like mad.
LEVEL SET (PFL) is also the preferred mode for SR
(sound reinforcement, or live sound), to preview chan-
nels before they are let into the mix. It won’t give you
stereo placement, but will give you signal even if the
fader is turned down.
48. METERS
The 1642-VLZ3’s peak metering system is made up
of two columns of twelve lobster-hypnotizing LEDs.
Deceptively simple, considering the multitude of signals
that can be monitored by it. If nothing is selected in
the SOURCE [42] matrix, and no channels are in SOLO
[27], the meter display will just sit there. To put them
to work, you must make a selection in the SOURCE
matrix (or engage a SOLO switch).
Remember, LEVEL SET (PFL) taps the chan-
nel signal before the fader. If you have a chan-
nel’s fader set way below “U” (unity gain),
SOLO won’t know that and will send a unity gain signal
to the control room, headphones, and meters. That may
result in a startling level boost at these outputs, depend-
ing on the position of the SOLO level knob.
Why? You want the meter display to reflect what the
engineer is listening to, and the engineer is listening
either to the C-R OUTS [9] or the PHONES [10] output.
The only difference is that while the listening levels are
controlled by the CTL ROOM and PHONES [43] knobs,
the meter display reads the SOURCE mix before the
controls, giving you the real facts at all times, even if
you’re not listening at all.
45. LEVEL SET LED
To quote step 6 of the Level-Setting Procedure, “Push
in the MODE [44] switch in the output section (LEVEL
SET (PFL) mode) — the LEVEL SET LED will light.”
When the solo MODE switch is engaged, it’s in LEVEL
SET (PFL) mode, the mode you must be in to set levels.
Now, when you engage any solo switch, this LED will
be a “green light” to set levels. If you tried to set levels
during NORMAL (AFL) mode, the meter display would
be at the mercy of the channel fader, and that would be
a big problem.
When the solo MODE [44] switch is set to LEVEL SET
(PFL) (down), all soloed signals will be sent to the left
meter only. That, combined with LEVEL SET LED [45],
are along the path of enlightenment known as the Level-
Setting Procedure. During NORMAL (AFL) mode, the
meters will behave normally.
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Thanks to the 1642-VLZ3’s wide dynamic range, you
can get a good mix with peaks flashing anywhere be-
tween –20 and +10 dB on the meter display. Most ampli-
fiers clip at about +10 dB, and some recorders aren’t so
forgiving either. For best real-world results, try to keep
your peaks between “0” and “+7.”
49
49
51
51
Please remember: Audio meter displays are just tools
to help assure you that your levels are “in the ballpark.”
You don’t have to stare at them (unless you want to).
50
50
AUX DISCUSSION
SENDS are outputs, RETURNS are inputs. The AUX
[35] knobs tap the signal off the channel and sends it to
the AUX SEND [6] outputs: AUX 1 and 2 are sent to the
AUX SENDS 1 and 2 [49] master knobs before the AUX
SEND outputs, and AUX 3 through 6 are sent directly.
These outputs are fed to the inputs of a reverb or
other device. From there, the outputs of the external
device are fed back to the mixer’s STEREO RETURN [7]
inputs. Then these signals are sent through the STEREO
RETURN [51] level controls, and finally delivered to the
main mix.
So, the original “dry” signals come from the channels
to the main mix and the affected “wet” signals come
from the STEREO RETURNS to the main mix, and once
mixed together, the dry and wet signals combine to cre-
ate a glorious sound. Armed with this knowledge, let’s
visit the Auxiliary World:
48
46
45
44
49. AUX SENDS (MASTER)
These knobs provide overall level control of AUX
SENDS 1 and 2, just before they’re delivered to their
AUX SEND [6] outputs. This is perfect for controlling
the level of stage monitors, since you’ll be using AUX 1
and 2 for this, with their PRE [36] switches engaged.
AUX SENDS 3 and 4 have no such control — they just
send their mixes directly to their AUX SEND outputs at
unity gain.
47
Meters vs. Reality
These knobs go from off (turned fully down), to unity
gain at the center detent, with 10 dB of extra gain
(turned fully up). As with some other level controls, you
may never need the additional gain, but if you ever do,
you’ll be glad you bought a Mackie.
You may already be an expert at the world of “+4” (+4
dBu=1.23 V) and “–10” (–10 dBV=0.32 V) operating
levels. Basically, what makes a mixer one or the other
is the relative 0 dB VU (or 0 VU) chosen for the meter
display. A “+4” mixer, with a +4 dBu signal pouring out
the back will actually read 0 VU on its meter display.
A “–10” mixer, with a –10 dBV signal trickling out, will
read, you guessed it, 0 VU on its meter display. So when
is 0 VU actually 0 dBu? Right now!
These are usually the knobs you turn up when the
lead singer glares at you, points at his stage monitor,
and sticks his thumb in the air. (It would follow suit
that if the singer stuck his thumb down, you’d turn the
knobs down, but that never happens.)
At the risk of creating another standard, Mackie’s
compact mixers address the need of both crowds by
calling things as they are: 0 dBu (0.775 V) at the output
shows as 0 VU on the meter display. What could be
easier? By the way, the most wonderful thing about stan-
dards is that there are so many to choose from.
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50. AUX SENDS SOLO and LED
53. MAIN MIX TO SUBS (for RETURN 3)
In live sound situations, AUX SEND [6] outputs 1
and 2 are likely to feed your stage monitors. You’ll want
to check the mix you’re sending them, and that’s what
these two buttons are for. (AUX 3 and 4 have no such
switch.) Beside each switch is a green LED that, just
like the channel’s –20 LED, helps you find the rogue
SOLO switch.
With this switch up, STEREO RETURN 3 behaves like
all the others — it delivers a stereo signal, regulated
by its level knob, to the main mix. When you engage
this switch, the signals are removed from the main mix
buses and sent to the 1-2/3-4 switch [54], which diverts
the signal once more. We’re not finished. Please read on:
54. 1–2/3–4 (for RETURN 3)
The only thing different about AUX SENDS SOLO is
that it’s not really PFL (pre-fader listen), and it’s not
really SIP (solo-in-place), it’s actually AFL (after-fader
listen.) Read on:
If the MAIN MIX TO SUBS [53] switch is disengaged,
the 1–2/3–4 switch does absolutely nothing. Let’s now
assume it’s engaged. STEREO RETURN 3’s stereo signal
will not be sent to the main mix, but to SUBGROUP
FADERS [38] 1 and 2 (this switch up) or 3 and 4 (this
switch down).
In the NORMAL (AFL) position of the MODE [44]
switch, you’ll get AUX SEND 1’s solo signal, post-AUX
SENDS [49] master level, in the left side of the control
room, headphones, and meters, and AUX SEND 2 on
the right side. (If you ever use AUX 1 and 2 to create a
stereo monitor mix, you’ll understand why.)
Let’s say you’ve made a stereo drum submix on SUB-
GROUP FADERS 1 and 2, so you can ride those two fad-
ers instead of the seven channels that the drums came
from. SUBGROUP FADER 1 has its ASSIGN TO MAIN
MIX [39], left button engaged and SUBGROUP FADER
2 has its ASSIGN TO MAIN MIX, right button engaged,
blending the drum submix back into the main mix. The
drum channels are also sending signals to your reverb
via the AUX SENDS [6], and the reverb outputs are
patched into STEREO RETURN 3 [7]. So far so good.
In the LEVEL SET (PFL) position of the MODE
switch, you’ll get the signal dead-center, but still post-
AUX SENDS master level.
51. STEREO RETURNS (LEVEL)
These four controls set the overall level of effects
received from the STEREO RETURN [7] input jacks.
These controls are designed to handle a wide range of
signal levels — each knob goes from off, to unity gain at
the detent, to 20 dB gain fully clockwise, to compensate
for low-level effects. Signals passing through these con-
trols proceed directly to the MAIN MIX [37] fader, with
exceptions that we’ll discuss in a moment.
Even though you could send STEREO RETURN 3 di-
rectly to the main mix (MAIN MIX TO SUBS [53] switch
up), you don’t want to. Instead, engage the MAIN MIX
TO SUBS switch and make sure the 1–2/3–4 switch is
up. Now the reverb return will be blended into the drum
submix, and as you ride those two faders, the reverb
level will follow.
Typically, these knobs can just live at the center
detent, and the effects device’s output control should
be set at whatever they call unity gain (check their
manual). If that turns out to be too loud or too quiet,
adjust the effects device’s outputs, not the mixer. That
way, the mixer’s knobs are easy to relocate at the center
detent.
Why do we want that? Because if you had just sent the
reverb directly to the main mix (MAIN MIX TO SUBS
switch up) and you did a drum fade-out using SUB-
GROUP FADERS 1 and 2, the “dry” signals would fade
out, but the “wet” signals would keep on singing. All you
would hear is the drum reverb (the “wet”), and none of
the original drum signals (the “dry”). That’s because the
reverb is being fed by the channel’s AUX sends, and they
have no idea that you’ve pulled down the SUBGROUP
FADERS. That’s why we threw in these switches.
52. TO AUX 1 and TO AUX 2
If you want to add reverb or delay to the stage monitor
mixes, these are the knobs for you. Operating indepen-
dently of their respectively numbered STEREO RE-
TURNS [51] level controls, these knobs are the same as
the AUX 1 [35] and 2 knobs in the channel strip.
These two knobs feed STEREO RETURN signals to
their respective AUX SEND [6] outputs: TO AUX 1 feeds
STEREO RETURN 1 to AUX SEND 1 [49] master, and
TO AUX 2 feeds STEREO RETURN 2 to AUX SEND 2
master. They are off when turned fully down, deliver
unity gain at the center detent, and provide up to 15 dB
of gain turned fully up. STEREO RETURN 3 and 4 have
no such knobs.
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56. RETURNS SOLO
This switch operates just like the channel SOLO [27]
switches — engaging it sends signals to the control
room, headphones, and meters, and interrupts whatever
happened to be there before you soloed. It follows the
MODE [44] switch setting as well. The only difference
is that when you engage this RETURNS SOLO switch, it
sends all four STEREO RETURNS signals to the SOLO
circuit.
52
54
51
51
53
55
Assume you want to solo the snare drum. Hit that
channel’s SOLO switch, and you get the “dry” (no
effects) snare only. That helps, but you want to hear
it with the reverb you have patched into a STEREO
RETURN. Leaving that channel’s SOLO switch engaged,
also engage the RETURNS SOLO switch, and now you’ll
get the dry snare and its reverb.
50
50
56
Since it is a global feature, you’ll also get the signals
from all the other STEREO RETURNS, so there may be
some sounds that you didn’t want to hear. If they offend
your sensibilities, simply turn down the STEREO RE-
TURNS LEVELS [51] you don’t want to hear, or MUTE
[30] the channels feeding the unwanted signal to the
effects device you do want to hear.
Congratulations! You’ve just read about all the fea-
tures of your 1642-VLZ3. You’re probably ready for a nice
cup of tea. Go ahead. The rest of the manual can wait.
55. C-R/PHNS ONLY (for RETURN 4)
Once again, the default for all the STEREO RETURNS
[7] is to feed them directly into the main mix. You’ve
just learned about the optional exceptions involving
STEREO RETURN 3. Not wanting to be left out, STEREO
RETURN 4 also has an optional exception: By engaging
this C-R/PHNS switch, you will remove STEREO RE-
TURN 4’s stereo signal from the main mix and send it di-
rectly to the CTL ROOM/PHONES SOURCE [42] matrix.
It matters not if any of the SOURCE matrix switches are
assigned, but it will be interrupted, as usual, if a SOLO
switch is engaged.
Let’s pretend you’re doing a live mix to a 2-track deck,
a house PA, or both, and you want to play along to a
click track. You could run the click track directly into
the main mix, but you don’t want the mixdown deck
and/or audience to hear it. By gum, this is the switch
for you. Similarly, it can be used for voice-over tracks,
narration, anything you want heard by the engineer and
players but not by the audience and mixdown deck.
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Appendix A: Service Information
Warranty Service
Repair
If you think your Mackie product has a problem,
please check out the following troubleshooting tips and
do your best to confirm the problem. Visit the Support
section of our website (www.mackie.com/support)
where you will find lots of useful information such as
FAQs and documentation. You may find the answer to
the problem without having to send your Mackie prod-
uct away.
For warranty service, refer to the warranty informa-
tion on page 31.
Non-warranty service for Mackie products is avail-
able at a factory-authorized service center. To locate
“Support” and select “Locate a Service Center.” Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211, Mon-
day-Friday, normal business hours, PST, to explain the
problem. Tech Support will tell you where the nearest
factory-authorized service center is located in your area.
Troubleshooting
Bad Channel
•
Are the channels assigned to the correct mix
(1-2, 3-4, L-R )?
•
•
Is the fader up?
Try unplugging any insert devices from the
INSERT [4) jacks.
•
Try the same source signal in another channel,
set up exactly like the suspect channel.
Bad Output
•
•
Is the level control (if any) turned up?
If you’re listening to the C-R OUTS [9] or
PHONES [10] outputs, has a SOURCE selection
been made?
•
•
•
If it’s one of the MAIN OUTS [14], try unplug-
ging its companion. For example, if it’s the 1/4"
output, unplug the RCA output. If the problem
goes away, it’s not the mixer.
If it’s a stereo pair, try switching them around.
For example, if a left output is presumed dead,
switch the left and right cords, at the mixer
end. If the left is still dead, it’s not the mixer.
Unplug everthing from the MAIN INSERT [13].
Noise
•
Turn the channel faders and STEREO RETURN
knobs down, one by one. If the sound disap-
pears, it’s either that channel or whatever is
plugged into it, so unplug whatever that is. If
the noise disappears, it’s from your whatever.
Power
•
Unplug the power cord and check the fuse.
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Appendix B: Connections
“XLR” Connectors
You can cook up your own adapter for a stereo
microphone adapter. “Y” two cables out of a
female 1⁄4" TRS jack to two male XLR plugs,
one for the Right signal and one for the Left.
Mackie mixers use 3-pin female “XLR” connectors on
all microphone inputs, with pin 1 wired to the grounded
(earthed) shield, pin 2 wired to the “high” (”hot” or
positive polarity) side of the audio signal and pin 3
wired to the “low” (“cold” or negative polarity) side of
the signal. See Figure A. This is all totally aboveboard
and in full accord with the hallowed standards dictated
by the AES (Audio Engineering Society).
•
•
Balanced mono circuits. When wired as a bal-
anced connector, a 1⁄4" TRS jack or plug is con-
nected tip to signal high (hot), ring to signal
low (cold), and sleeve to ground (earth).
Unbalanced Send/Return circuits. When wired
as send/return “Y” connector, a 1⁄4" TRS jack
or plug is connected tip to signal send (output
from mixer), ring to signal return (input back
into mixer), and sleeve to ground (earth).
Use a male “XLR”-type connector, usually found on the
nether end of what is called a “mic cable,” to connect to
a female XLR jack.
2
SHIELD
HOT
1⁄4" TS Phone Plugs and Jacks
1
3
COLD
SHIELD
1
“TS” stands for Tip-Sleeve, the two connections avail-
able on a “mono” 1⁄4" phone jack or plug. See Figure C.
3
COLD
2
HOT
SLEEVE
SLEEVE
TIP
SHIELD
COLD
HOT
1
3
TIP
2
TIP
SLEEVE
Figure A: XLR Connectors
Figure C: TS Plug
1⁄4" TRS Phone Plugs and Jacks
TS jacks and plugs are used in many different
applications, always unbalanced. The tip is connected to
the audio signal and the sleeve to ground (earth). Some
examples:
“TRS” stands for Tip-Ring-Sleeve, the three
connections available on a “stereo” 1⁄4" or “balanced”
phone jack or plug. See Figure B.
•
•
•
Unbalanced microphones
RING SLEEVE
TIP
SLEEVE RING TIP
Electric guitars and electronic instruments
Unbalanced line-level connections
RING
TIP
Switched 1⁄4" Phone Jacks
SLEEVE
Figure B: " TRS Plugs
Switches can be incorporated into 1⁄4" phone jacks,
which are activated by inserting the plug. These switch-
es may open an insert loop in a circuit, change the input
routing of the signal or serve other functions. Mackie
uses switches in the channel insert and bus insert jacks,
input jacks and AUX returns. We also use these switches
to ground the line-level inputs when nothing is plugged
into them.
TRS jacks and plugs are used in several different ap-
plications:
•
Stereo Headphones, and rarely, stereo micro-
phones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug
is connected tip to left, ring to right and sleeve
to ground (earth). Mackie mixers do not
directly accept 1-plug-type stereo microphones.
They must be separated into a left cord and a
right cord, which are plugged into the two mic
preamps.
In most cases, the plug must be inserted fully to
activate the switch. Mackie takes advantage of this in
some circuits, specifying circumstances where you are
to insert the plug only partially. See Special Mackie
Connections, on the next page.
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RCA Plugs and Jacks
Special Mackie Connections
RCA-type plugs (also known as phono plugs) and
jacks are often used in home stereo and video equip-
ment and in many other applications (Figure D). They
are unbalanced and electrically identical to a 1⁄4" TS
phone plug or jack. See Figure C. Connect the signal to
the center post and the ground (earth) or shield to the
surrounding “basket.”
The balanced-to-unbalanced connection has been
anticipated in the wiring of Mackie jacks. A 1⁄4" TS plug
inserted into a 1⁄4" TRS balanced input, for example,
will automatically unbalance the input and make all the
right connections. Conversely, a 1⁄4" TRS plug inserted
into a 1⁄4" unbalanced input will automatically tie the
ring (low or cold) to ground (earth).
TRS Send/Receive Insert Jacks
SLEEVE TIP SLEEVE TIP
Mackie’s single-jack inserts are the three-conductor,
TRS-type 1⁄4" phone. They are unbalanced, but have
both the mixer output (send) and the mixer input
(return) signals in one connector. See Figure E.
Figure D: RCA Plug
SEND to processor
Unbalancing a Line
ring
“tip”
(TRS plug)
tip
sleeve
In most studio, stage and sound reinforcement situ-
ations, there is a combination of balanced and unbal-
anced inputs and outputs on the various pieces of
equipment. This usually will not be a problem in making
connections.
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring”
RETURN from processor
Figure E
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the external unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
•
When connecting a balanced output to an
unbalanced input, be sure the signal high (hot)
connections are wired to each other, and that
the balanced signal low (cold) goes to the
ground (earth) connection at the unbalanced
input. In most cases, the balanced ground
(earth) will also be connected to the ground
(earth) at the unbalanced input. If there are
ground-loop problems, this connection may be
left disconnected at the balanced end.
Using the Send Only on an Insert Jack
If you insert a TS (mono) 1⁄4" plug only partially (to
the first click) into a Mackie insert jack, the plug will
not activate the jack switch and will not open the insert
loop in the circuit (thereby allowing the channel signal
to continue on its merry way through the mixer).
•
When connecting an unbalanced output to a
balanced input, be sure that the signal high
(hot) connections are wired to each other. The
unbalanced ground (earth) connection should
be wired to the low (cold) and the ground
(earth) connections of the balanced input. If
there are ground-loop problems, try connecting
the unbalanced ground (earth) connection only
to the input low (cold) connection, and leaving
the input ground (earth) connection discon-
nected.
This allows you to tap out the channel or bus signal
without interrupting normal operation.
If you push the 1⁄4" TS plug in to the second click, you
will open the jack switch and create a direct out, which
does interrupt the signal in that channel. See Figure F
on the next page.
NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
•
In some cases, you will have to make up special
adapters to interconnect your equipment. For
example, you may need a balanced XLR female
connected to an unbalanced 1⁄4" TS phone
plug.
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A stereo signal, having two plugs, should be patched
into the LEFT (MONO) and the RIGHT input or return
jacks. A jack switch in the RIGHT jack will disable the
mono function, and the signals will show up in stereo.
MONOPLUG
ChannelInsertjack
Direct outwithnosignalinterruptiontomaster.
Insertonlytofirst“click.”
A mono signal connected to the RIGHT jack will show
up in the right bus only. You probably will only want to
use this sophisticated effect for special occasions.
MONOPLUG
ChannelInsertjack
Mults and “Y”s
Direct outwithsignalinterruptiontomaster.
Insert allthewayintothesecond“click.”
A mult or “Y” connector allows you to route one output
to two or more inputs by simply providing parallel wir-
ing connections. You can make “Y”s and mults for the
outputs of both unbalanced and balanced circuits.
STEREO
PLUG
ChannelInsertjack
Remember: Only mult or “Y” one output into
several inputs. If you need to combine several
outputs into one input, you must use a mixer,
not a mult or a “Y.”
Foruse asaneffectsloop.
(TIP=SEND toeffect, RING=RETURNfromeffect.)
Figure F
Mackie Stereo Inputs and Returns: Mono,
Stereo, Whatever
Stereo line inputs and stereo returns are a fine
example of the Mackie philosophy (which we just made
up) of Maximum Flexibility with Minimum Headache.
The inputs and returns will automatically be mono or
stereo, depending upon how you use the jacks. Here’s
how it works:
A mono signal should be patched into the input or
return jack labeled Left (MONO). The signal will be
routed to both the left and right sides of the return
circuit, and will show up in the center of the stereo pair
of buses it’s assigned to, or it can be panned with the
PAN control.
RING (IN)
RING
TIP
RING (RETURN)
(RETURN)
(SEND)
TIP (OUT)
TO MIXER
CHANNEL INSERT
FROM
PROCESSOR
OUTPUT
TO
PROCESSOR
INPUT
TIP (SEND)
Y-cord insert cable
Y-cord splitter cable
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Appendix C: Technical Information
Low Mid Peaking
15 dB @ 400 Hz
15 dB @ 80 Hz
Specifications
Low Shelving
Low Cut Filter (Ch.9–12)
18 dB/octave, –3 dB @ 75 Hz
Main Mix Noise
(20 Hz–20 kHz bandwidth, 1/4" Main out, channel gains @
unity gain, channel EQs flat, all channels assigned to Main Mix,
odd channels panned left, even channels panned right.)
Power Consumption
50 watts
Fuse Ratings
100–120 VAC
220–240 VAC
Main Mix fader unity, channel faders down:
(90 dB Signal to Noise Ratio, ref +4 dBu)
–86.5 dBu
1A Slo Blo, 5 x 20 mm
0.5A Slo Blo, 5 x 20 mm
Main Mix fader unity, channel faders @ unity: –86 dBu
Dimensions (H x W x D) in Normal Pod Position
Total Harmonic Distortion (THD)
16.7" x 16.6" x 5.2" (425 mm x 421 mm x 131 mm)
(1 kHz 35 dB gain, 20 Hz–20 kHz bandwidth)
Mic in to insert out:
<0.0007%
Weight
18.2 lb (8.3 kg)
Attenuation (Crosstalk)
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth,
Line in, 1⁄4" Main Out, Gain @ unity.)
LOUD Technologies Inc. is always striving to improve our prod-
ucts by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
Channel Mute switch engaged:
Channel Gain knob down:
–82 dBu
–82 dBu
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective hold-
ers, and are hereby acknowledged.
Frequency Response
(Mic input to any output.)
20 Hz to 40 kHz:
+0 dB/–1 dB
+0 dB/–3 dB
20 Hz to 60 kHz:
Please check our website for any updates to this manual: www.
mackie.com.
Equivalent Input Noise (EIN)
(Mic in to Insert Send out, max gain.)
150 ohm termination:
©2007-2009 LOUD Technologies Inc. All Rights Reserved.
–129.5 dBu 20 Hz–20 kHz
16.6 in
421 mm
Common Mode Rejection Ratio (CMRR)
(Mic in to Insert Send out, max gain.)
5.2 in
131 mm
1 kHz:
better than –70 dB
5.2 in
131 mm
Maximum Levels
Mic in:
+22 dBu
+22 dBu
+28 dBu
+22 dBu
All other inputs:
Main Mix TRS out and XLR out:
All other outputs:
16.7 in
425 mm
Impedances
Mic in:
2.5 kilohms
Channel Insert return:
All other inputs:
Tape out:
2.5 kilohms
10 kilohms or greater
1.1 kilohms
All other outputs:
120 ohms
3 Band EQ (channels 1 – 8)
High Shelving
15 db @ 12 kHz
15 dB sweep 100 Hz–8 kHz
15 db @ 80 Hz
Mid Peaking
Low Shelving
Low Cut Filter
18 dB/octave, –3 dB @ 75 Hz
4 Band EQ (channels 9 – 16)
High Shelving
19.1 in/ 485 mm
15 dB @ 12 kHz
15 dB @ 2.5 kHz
(optional Rack Mount Kit)
Hi Mid Peaking
ꢀ8
164ꢀ-VLZ3
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BlockDiagram
CR/PHN
CR/PHN
R
L
LOGIC
PFL
SIP R
SIP L
AUX 4
AUX 3
AUX 2
AUX 1
SUB 4
SUB 3
SUB 2
SUB 1
MAIN R
MAIN L
ꢀ9
Owner’s Manual
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Mackie Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (toll-
free in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it
to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
31
Owner’s Manual
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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
E-mail: [email protected]
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