1642-VLZ PRO 16-Channel Mic/Line Mixer Owner's Manual 1642VLZPRO... · 1642-vlz pro 16-channel...

1642-VLZ PRO16-CHANNELMIC/LINE MIXEROWNER’S MANUAL

1MUTE

2 3MUTEMUTE

4MUTE

LINE IN

INSERT

XDR MIC PRE

MIC 1

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 2

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 3

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 4

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 5

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 6

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 7

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 8

BALUN-BAL

BALUN-BAL

LINE IN 9

LINE IN 10

XDR MIC PRE

MIC 9-10

L

R

13LEFT

LEFT

RIGHT

LEFT

RIGHT

MONOMONOMONO

14RIGHT

BAL /UNBAL

BAL /UNBAL

15LEFT

MONO

16RIGHT

TAPEIN

TAPEOUT

BALUN-BAL

LINE IN 11 LINE IN LINE IN

LINE IN 12

XDR MIC PRE

MIC 11-12

L

R

PHONES

A

B

LAMP

12V0.5A

1642-VLZPRO16-CHANNEL MIC/LINE MIXER

WITH PREMIUM XDRTM MIC PREAMPLIFIERS

U

OO+20

OO+20

U

OO+15

OO+15

STEREO AUX RETURN

EFFECTS TO MONITORS

TO AUXSEND 2

TO AUXSEND 11

2

1

2

3

4C-R / PHNS

ONLYRETURNS

SOLO

MAIN MIXTO SUBS

ASSIGN OPTIONS

1–23–4

U

OO+20

U

OO+20

U

OO+10

U

OO+10

AUX SEND

1

2

PWRPHAN

SOLO

SOLO

1

2

2

3

TRIM1516

U

OO+15U

O

U

+15

U

OO+15

AUX

PRE

U

+20-20

1

TRIM1314

OO

U

+15

AUX

U

+20-20

2

3

4

1

4

U

+15-15

EQ

U

OO+15U

OO+15

U

OO+15PRE

U

+15-15

EQ

12kHI

12kHI

OO+15

O

PAN PAN

HIMID3K

LOWMID

800Hz

80HzLOW

LOWMID

800Hz

80HzLOW

L R

U

+15-15

L R

+15-15U

+15-15

U

+15-15U

+15-15

LOWMID

800Hz

U

+15-15

LOWMID

800Hz

U

+15-15U

+15-15

HIMID3K

SUBS 1–2

SUBS 3–4

MAIN MIX

CR SOURCE

TAPEOOMAXSOLO

RUDE SOLO LIGHT

15

26

37

48

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

LEVELSET

MODE

(AFL)LEVEL SETNORMAL

(PFL)

RIGHT

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

TRACK

8EFX

AEFX

B

MAINMIX

CONTROL ROOMMAXOO

MAXOO

PHONES

U

0 dB=0 dBuLEFT RIGHT

OO+20TAPE IN

TAPE TOMAIN MIX

28

10

7

4

2

0

2

4

7

10

20

30

U U

5MUTE

6MUTE

7MUTE

8MUTE

9-10MUTE

11-12MUTE

13-14MUTE

15-16MUTE

TRACK

7TRACK

6TRACK

5TRACK

4TRACK

3TRACK

2TRACK

1REC

1REC

2

U

TRIM1

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

2

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

3

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

4

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

5

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

6

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

7

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

8

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

910

LOW CUT75 Hz

18dB/OCT

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN

TRIM1112

LOW CUT75 Hz

18dB/OCT

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

L

R

MONO(BAL/UNBAL)

120 VAC 50/60 Hz 40W1A/250V SLO-BLO

TO REDUCE THE RISK OFFIRE REPLACE WITH SAME

TYPE FUSE AND RATING

CAUTION:

AUX RETURN(BAL/UNBAL)

DIRECT OUTS(BAL/UNBAL)

SUB OUTS(BAL/UNBAL)

C-R OUTS(BAL/UNBAL)

MAIN INSERT(TIP SEND

RING RETURN)

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USAPATENTS PENDING

COPYRIGHT ©1998 • THE FOLLOWING ARE REGISTERED TRADEMARKS OFMACKIE DESIGN INC.: "MACKIE", "XDR", AND THE "RUNNING MAN" FIGURE

1 1

84321 7 6 5 4 3 2 1

5

2

6

3

7

4 2 3 4

8

L(MONO)(MONO)(MONO)(MONO)

R

L

R

L

R

L

R

MAIN(BAL/UNBAL)

AUX SENDS(BAL/UNBAL)

MAIN OUTS

L

R

L

R

L

R

U

OO +6LEVEL

1642-VLZPRO16-CHANNEL MIC/ LINE MIXER


MIC+4

MAINOUTPUTLEVEL

TIP OUT TO EFFECTS DEVICERING RETURN FROM EFFECTS

DIRECT OUT WITH SIGNAL INTERRUPTION TO MASTER

FOR USE AS AN EFFECTS LOOP(TIP = SEND, RING = RETURN)

INSERT ALL THE WAY IN TOTHE "SECOND CLICK"

MONO PLUG

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

RISK OF ELECTRIC SHOCKDO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

CAUTION

AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

SERIAL NUMBER MANUFACTURING DATESTEREO PLUG

DIRECT OUT WITH NO SIGNAL INTERRUPTION TO MASTER

INSERT ONLY INTO THE"FIRST CLICK"

MONO PLUG

POWERON

PHANTOMON

2

CAUTION AVISRISK OF ELECTRIC SHOCK

DO NOT OPENRISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCKDO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDEREFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOCELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN

ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIERL'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OUD'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated"dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

Duration Per Day Sound Level dBA, Typical In Hours Slow Response Example

8 90 Duo in small club6 924 95 Subway Train3 972 100 Very loud classical music

1.5 1021 105 Tami screaming at Adrian about deadlines

0.5 110 0.25 or less 115 Loudest parts at a rock concert

WARNING — To reduce the risk of fire or electric shock,do not expose this appliance to rain or moisture.

12. Damage Requiring Service — This Mackie product should be servicedonly by qualified service personnel when:

A. The power-supply cord or the plug has been damaged; or

B. Objects have fallen, or liquid has spilled into this Mackieproduct; or

C. This Mackie product has been exposed to rain; or

D. This Mackie product does not appear to operate normally orexhibits a marked change in performance; or

E. This Mackie product has been dropped, or its chassis damaged.

13. Servicing — The user should not attempt to service this Mackie productbeyond those means described in this operating manual. All other servicingshould be referred to the Mackie Service Department.

14. To prevent electric shock, do not use this polarized plug with anextension cord, receptacle or other outlet unless the blades can be fullyinserted to prevent blade exposure.

Pour prévenir les chocs électriques ne pas utiliser cette fiche polariseé avec unprolongateur, un prise de courant ou une autre sortie de courant, sauf si leslames peuvent être insérées à fond sans laisser aucune pariie à découvert.

15. Grounding or Polarization — Precautions should be taken so that thegrounding or polarization means of this Mackie product is not defeated.

16. Power Precautions — Unplug this Mackie product during lightning stormsor when unused for long periods of time. Note that this Mackie product is notcompletely disconnected from the AC mains service when the power switch isin the OFF position.

17. This apparatus does not exceed the Class A/Class B (whichever isapplicable) limits for radio noise emissions from digital apparatus as set out in theradio interference regulations of the Canadian Department of Communications.

ATTENTION —Le présent appareil numérique n’émet pas de bruitsradioélectriques dépassant las limites applicables aux appareils numériques declass A/de class B (selon le cas) prescrites dans le règlement sur le brouillageradioélectrique édicté par les ministere des communications du Canada.

18. Exposure to extremely high noise levels may cause permanent hearingloss. Individuals vary considerably in susceptibility to noise-induced hearing loss,but nearly everyone will lose some hearing if exposed to sufficiently intensenoise for a period of time. The U.S. Government’s Occupational Safety andHealth Administration (OSHA) has specified the permissible noise level exposuresshown in the following chart.

According to OSHA, any exposure in excess of these permissible limits couldresult in some hearing loss. To ensure against potentially dangerous exposure tohigh sound pressure levels, it is recommended that all persons exposed to equip-ment capable of producing high sound pressure levels use hearing protectorswhile the equipment is in operation. Ear plugs or protectors in the ear canals orover the ears must be worn when operating the equipment in order to preventa permanent hearing loss if exposure is in excess of the limits set forth here.

SAFETY INSTRUCTIONS1. Read Instructions — All the safety and operation instructions should beread before this Mackie product is operated.

2. Retain Instructions — The safety and operating instructions should be keptfor future reference.

3. Heed Warnings — All warnings on this Mackie product and in these operatinginstructions should be followed.

4. Follow Instructions — All operating and other instructions should befollowed.

5. Water and Moisture — This Mackie product should not be used near water– for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wetbasement, near a swimming pool, swamp or salivating St. Bernard dog, etc.

6. Cleaning — Clean only with a dry cloth.

7. Ventilation — This Mackie product should be situated so that itslocation or position does not interfere with its proper ventilation. Forexample, the Component should not be situated on a bed, sofa, rug, orsimilar surface that may block any ventilation openings, or placed in abuilt-in installation such as a bookcase or cabinet that may impede theflow of air through ventilation openings.

8. Heat — This Mackie product should be situated away from heat sourcessuch as radiators, or other devices which produce heat.

9. Power Sources — This Mackie product should be connected to a powersupply only of the type described in these operation instructions or as markedon this Mackie product.

10. Power Cord Protection — Power supply cords should be routed so thatthey are not likely to be walked upon or pinched by items placed upon oragainst them, paying particular attention to cords at plugs, conveniencereceptacles, and the point where they exit this Mackie product.

11. Object and Liquid Entry — Care should be taken so that objects do notfall on, and liquids are not spilled into, this Mackie product.

3Part No. 0006983-90 Rev. A1 06/03©2003 Mackie Designs Inc. All Rights Reserved.

We realize that you must have a powerfulhankerin’ to try out your new 1642-VLZ PRO.Or you might be one of those people whonever reads manuals. Either way, all we askis that you read this page NOW, and the restcan wait until you’re good and ready. But doread it — you’ll be glad you did.

Other Nuggets of WisdomFor optimum sonic performance, the channel

faders and the MAIN MIX fader should be setnear the “U” (unity gain) markings.

Always turn down the MAIN MIX fader andCONTROL ROOM and PHONES knobs beforemaking connections to your 1642-VLZ PRO.

If you shut down your equipment, turn offyour amplifiers first. When powering up, turnon your amplifiers last.

Save the shipping box! You may need itsomeday, and you don’t want to have to pay foranother one.

INSTANT MIXINGHere’s how to get going

right away, assuming you owna microphone and a keyboard:

1. Plug your microphone into Channel 1’sMIC input.

2. Turn on the 1642-VLZ PRO.3. Perform the Level-Setting Procedure .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.8. Set the MAIN MIX fader one-quarter of

the way up.9. Sing like a canary!

10. Plug your keyboard into channels 3 and 4.11. Turn channel 3’s PAN knob fully left and

channel 4’s PAN knob fully right.12. Set those faders to the “U” mark.13. Perform the Level-Setting Procedure .14. Engage the L/R switch on these channels.15. Play like a madman and sing like a canary!

It’s your first mix!

READ THIS PAGE!!!

Please write your serial number here forfuture reference (i.e., insurance claims,tech support, return authorization, etc.):

LEVEL-SETTING PROCEDUREMessage to seasoned pros: do NOT set levels

using the old “Turn the trim up until the cliplight comes on, then back off a hair” trick. When aMackie Designs mixer clip light comes on, youreally are about to clip.

This procedure really works — it assureslow noise and high headroom. Please read on.

It’s not even necessary to hear what you’re do-ing to set optimal levels. But if you’d like to: Plugheadphones into the PHONES output jack,then set the PHONES knob about one-quar-ter of the way up.

The following steps must be performed onechannel at a time:

1. Turn the TRIM, AUX send and fadercontrols fully down.

2. Be sure the 1–2, 3–4 and L/R channelassignment switches are all disengaged.

3. Set the EQ knobs at the center detents.4. Connect the signal source to the MIC or

LINE channel input.5. Engage (push in) the channel’s SOLO

switch.6. Push in the MODE switch in the output

section (LEVEL SET (PFL) mode) — theLEVEL SET LED will light.

7. Play something into the selected input, atreal-world levels.

8. Adjust the TRIM control so that thedisplay on the meter stays around “0.”(Only the left meter is active in theLevel-Setting Procedure.)

9. If you’d like to apply some EQ, do sonow and return to the previous step.

10. Disengage that channel’s SOLO switch.11. Repeat for each channel. Purchased at:

Date of purchase:

4

1MUTE

2 3MUTEMUTE

4MUTE

LINE IN

INSERT

XDR MIC PRE

MIC 1

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 2

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 3

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 4

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 5

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 6

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 7

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 8

BALUN-BAL

BALUN-BAL

LINE IN 9

LINE IN 10

XDR MIC PRE

MIC 9-10

L

R

13LEFT

LEFT

RIGHT

LEFT

RIGHT

MONO

14RIGHT

BAL /UNBAL

BAL /UNBAL

15LEFT

MONO

16RIGHT

TAPEIN

TAPEOUT

BALUN-BAL


LINE IN 12

XDR MIC PRE

MIC 11-12

L

R

PHONES

A

B

LAMP

12V0.5A



U

OO+20

OO+20

U

OO+15

OO+15

STEREO AUX RETURN

EFFECTS TO MONITORS

TO AUXSEND 2

TO AUXSEND 11

2

1

2

3

4C-R / PHNS

ONLYRETURNS

SOLO

MAIN MIXTO SUBS

ASSIGN OPTIONS

1–23–4

U

OO+20

U

OO+20

U

OO+10

U

OO+10

AUX SEND

1

2

PWRPHAN

SOLO

SOLO

1

2

2

3

TRIM1516

U

OO+15U

O

U

+15

U

OO+15

AUX

PRE

U

+20-20

1

TRIM1314

OO

U

+15

AUX

U

+20-20

2

3

4

1

4

U

+15-15

EQ

U

OO+15U

OO+15

U

OO+15PRE

U

+15-15

EQ

12kHI

12kHI

OO+15

O

PAN PAN

HIMID3K

LOWMID

800Hz

80HzLOW

LOWMID

800Hz

80HzLOW

L R

U

+15-15

L R

+15-15U

+15-15

U

+15-15U

+15-15

LOWMID

800Hz

U

+15-15

LOWMID

800Hz

U

+15-15

EQ

U

+15-15

HIMID3K

SUBS 1–2

SUBS 3–4

MAIN MIXSOURCE

TAPEOOMAXSOLO

RUDE SOLO LIGHT

15

26

37

48

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

LEVELSET

MODE


(PFL)

RIGHT

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

TRACK

8EFX

AEFX

B

MAINMIX

CONTROL ROOMMAXOO

MAXOO

PHONES

U


OO+20TAPE IN

TAPE TOMAIN MIX

28

10

7

4

2

0

2

4

7

10

20

30

U U

5MUTE

6MUTE

7MUTE

8MUTE

9-10MUTE

11-12MUTE

13-14MUTE

15-16MUTE

TRACK

7TRACK

6TRACK

5TRACK

4TRACK

3TRACK

2TRACK

1

U

TRIM1

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

2

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

3

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

4

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

5

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

6

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

7

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

8

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

910

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

1112

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

Thank you for choosing a Mackie Designsprofessional compact mixer. The 1642-VLZ PROis equipped with our new precision-engineeredXDRTM Extended Dynamic Range premium micpreamps featuring:

• Full gain range from 0 to 60dB• +22 dBu line signal handling capability• 130 dB dynamic range• Distortion less than 0.0007%, 20Hz to 20kHz• Bullet-proof RF rejection using DC pulse

transformer circuitryNow that you have your 1642-VLZ PRO, find

out how to get the most from it. That’s wherethis manual comes in.

HOW TO USE THIS MANUALSince many of you folks will want to hook up

your 1642-VLZ PRO immediately, the first pagesyou will encounter after the table of contents arethe ever popular hookup diagrams. These showtypical mixer setups for Record/Mixdown, Video,Stereo PA and a fixed installation. After this sec-tion is a detailed tour of the entire mixer.

Every feature of the 1642-VLZ PRO will bedescribed “geographically;” in other words, inorder of where it is physically placed on themixer’s top or rear panel. These descriptions aredivided into the first three manual chapters, justas your mixer is organized into three distinctzones:1. PATCHBAY: The zillion jacks along on the

top edge and the rear panel2. CHANNEL STRIP: The channel strips on

the left.3. OUTPUT SECTION: The output section on

the right.

Whenever a specific 1642-VLZ PRO compo-nent is mentioned, it’ll be in all capital letterssans-serif type. That can help you find refer-ences to specific controls much faster, withoutslowing you down as you read normally. For ex-ample: The quick brown fader jumped over theRUDE SOLO LIGHT.

Throughout these chapters you’ll find illus-trations, with each feature numbered. If you’recurious about a feature, simply locate it on theappropriate illustration, note the number at-tached to it, and find that number in the nearbyparagraphs or refer to the table of contents.

You’ll also find cross-references to these num-bered features within a paragraph. For instance, ifyou see “To wire your own cables: ,” simply findthat number in the manual and you’ve found youranswer. (These are not page numbers.)

You’ll also notice feature numbers just float-ing in space, like this . These numbersdirect you to relevant information.

This icon marks informationthat is critically important orunique to the 1642-VLZ PRO.For your own good, read themand remember them. They willbe on the final test.This icon will lead you to in-depth explanations of featuresand practical tips. While notmandatory, they’ll have somevaluable information.

A PLUG FOR THE CONNECTORS SECTIONThe Appendix gives details about connectors:

XLR connectors, balanced connectors, unbal-anced connectors and special hybridconnectors.

RACK MOUNTINGOptional rack ears are available which allow

the 1642-VLZ PRO to be fitted in a standard 19"rack. This will take up a height of 12 rackspaces (including enough room to make theconnections). Contact your Mackie dealer formore details.

INTRODUCTION

PATCHBAY

CHANNEL STRIPS OUTPUTSECTION

5

CONTENTSOUTPUT SECTION DESCRIPTION ..................... 22

MAIN MIX FADER .................................. 22VLZ MIX ARCHITECTURE ........................ 22SUB FADERS .......................................... 22ASSIGN TO MAIN MIX ........................... 22TAPE IN (LEVEL) ..................................... 23TAPE TO MAIN MIX ............................... 23CR SOURCE ........................................... 23CONTROL ROOM AND PHONES CONTROLS . 23MODE (NORMAL (AFL)/LEVEL SET (PFL)) .. 24LEVEL SET LED ....................................... 24SOLO (LEVEL) ........................................ 24RUDE SOLO LIGHT ................................. 24METERS ................................................. 25AUX DISCUSSION .................................. 25AUX SEND (MASTER) ............................. 25AUX SENDS SOLO .................................. 26AUX RETURNS (LEVEL) ........................... 26EFFECTS TO MONITORS .......................... 26MAIN MIX TO SUBS (AUX RET 3) ........... 261-2/3-4 (AUX RET 3) ............................ 26C-R/PHNS ONLY (AUX RET 4) ................ 27RETURNS SOLO ..................................... 27

1642-VLZ PRO BLOCK DIAGRAM .......................... 28GAIN STRUCTURE DIAGRAM ................................. 29SPECIFICATIONS ................................................... 30SERVICE INFO....................................................... 31APPENDIX A: CONNECTIONS ................................. 32TRACK SHEET ....................................................... 36COLOPHON .......................................................... 381642-VLZ PRO LIMITED WARRANTY..................... 39

LEVEL-SETTING PROCEDURE ............................ 3INSTANT MIXING ............................................ 3HOOKUP DIAGRAMS ....................................... 6PATCHBAY DESCRIPTION ............................... 10

E-Z INTERFACING .................................. 10MIC/LINE INPUT FLEXIBILITY ................. 10MIC INPUTS .......................................... 10PHANTOM POWER DISCUSSION ............. 10LINE INPUTS .......................................... 11TRIM..................................................... 11INSERT .................................................. 11DIRECT OUT ........................................... 12RECORDING .......................................... 12AUX SEND OUTPUTS .............................. 12EFFECTS: SERIAL OR PARALLEL? ............. 13AUX RETURN INPUTS ............................. 13SUB OUTS ............................................. 13C-R OUTS (CONTROL ROOM OUTPUTS) .. 14PHONES OUTPUT ................................... 14TAPE OUTPUT ........................................ 14TAPE INPUT ........................................... 14MAIN INSERT ........................................ 14MAIN OUTS ........................................... 14MONO OUTPUT ..................................... 15MONO LEVEL ......................................... 15POWER CONNECTION ............................ 15FUSE ..................................................... 15POWER SWITCH .................................... 15POWER LED ........................................... 16PHANTOM SWITCH ................................ 16PHANTOM LED ...................................... 16BNC LAMP SOCKET ................................ 16

CHANNEL STRIP DESCRIPTION ....................... 17“U” LIKE UNITY GAIN ............................ 17FADER ................................................... 17ASSIGN (1-2, 3-4, L/R) ......................... 17SOLO .................................................... 18–20 (SOLO) LED ..................................... 18OL (MUTE) LED ...................................... 18MUTE .................................................... 19PAN ...................................................... 193-BAND MID-SWEEP EQ ......................... 194-BAND FIXED FREQUENCY EQ ............... 20LOW CUT............................................... 20AUX 1, 2, 3, 4 ....................................... 21PRE ....................................................... 21

6

1642-VLZ PRO 8-Track Tracking

HOOKUP DIAGRAMS

EFX A

Stereo Compressor

EFX B

CHAN

NEL

INSE

RTS

CHAN

NEL

INPU

TS

AUX

SEN

DSBA

L/UN

BAL

TAPE

OUT

TAPE IN

PHON

ESOU

TSU

B OU

TSBA

L/UN

BAL

C/R

OUT

BAL/

UNBA

LM

AIN

INSE

RT

AUX

RETU

RNS

DIRE

CT O

UTBA

L/UN

BAL

MON

O

MAI

N OU

TBA

L/UN

BAL

LR

LR

Headphones

8 Track RecorderOut

In

From Mics, Keys,Drum machines

etc.

1

12

34

59-

1011-

12

23

4

Stereo Processor

Powered Monitors

Cassette Recorder

“tip”

This plug connects to one of the mixer’s Channel Insert jacks. “ring”

tipring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

This is an insert plug, used to send and receiveon the same TRS connector

(See the diagram below whichshows how to wire Insert plugs)

7

1642-VLZ PRO Video setup

CHAN

NEL

INSE

RTS

CHAN

NEL

INPU

TS

AUX

SEN

DSBA

L/UN

BAL

TAPE

OUT

TAPE IN

PHON

ESOU

TSU

B OU

TSBA

L/UN

BAL

C/R

OUT

BAL/

UNBA

LM

AIN

INSE

RT

AUX

RETU

RNS

DIRE

CT O

UTBA

L/UN

BAL

MON

O

MAI

N OU

TBA

L/UN

BAL

LR

LR

Computer with Audio Card

in

Multi-VCR Video Switcher

Headphones

PoweredMonitors

CD Player

VideoDecks

VideoMaster

KeyboardStereo Compressor

8

1642-VLZ PRO Stereo P.A.

CHAN

NEL

INSE

RTS

CHAN

NEL

INPU

TS

AUX

SEN

DSBA

L/UN

BAL

AUX

RETU

RNS

DIRE

CT O

UTBA

L/UN

BAL

MON

O

MAI

N OU

TBA

L/UN

BAL

LR

LR

Turntable

Active PA Speaker/ Subwoofer

combination(Pole-mountedSRM450s andSRS1500 active

Subwoofers pictured)

Guitar

Guitar

Mic 1-5

Processor

Processor

DrumMachine

Mono EQs, M-1400i Amps,and (C300) Passive Stage Monitors

Keyboard

Bass

Mono Effects

Stereo Effects

Phono preamp

Additionalstereo source

Stereo Compressors

TAPE

OUT

TAPE IN

PHON

ESOU

T

SUB

OUTS

C/R

OUT

BAL/

UNBA

LM

AIN

INSE

RT

Headphones

Digital Multitrack Recorder

Stereo Processor

CD Player

9

1642-VLZ PRO Church Installation

CHAN

NEL

INSE

RTS

CHAN

NEL

INPU

TS

AUX

SEN

DSBA

L/UN

BAL

TAPE

OUT

TAPE IN

PHON

ESOU

TSU

B OU

TSBA

L/UN

BAL

C/R

OUT

BAL/

UNBA

LM

AIN

INSE

RT

AUX

RETU

RNS

DIRE

CT O

UTBA

L/UN

BAL

MON

O

MAI

N OU

TBA

L/UN

BAL

LR

LR

Headphones

Multitrack Recorder

Direct Box

Mic 1-5

Guitar

Stereo Processor

Processor

Assistive ListeningTransmitter

70 Volt Line Amp

SRM 450s or otherpowered monitors

HR824s or otherpowered monitors

Monitors on distributed system throughout building

Drum Machine

Mono EQs, M-1400i Amps,and (C300) Passive Stage Monitors

Cassette Recorder

CD Player

VCR

Keyboard

10

LINE IN

INSERT

XDR MIC PRE

MIC 1

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 2

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 3

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 4

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 5

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 6

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 7

BALUN-BAL

LINE IN

INSERT

XDR MIC PRE

MIC 8

BALUN-BAL

BALUN-BAL

LINE IN 9

LINE IN 10

XDR MIC PRE

MIC 9-10

L

R

13LEFT

LEFT

RIGHT

LEFT

RIGHT

MONOMONOMONO

14RIGHT

BAL /UNBAL

BAL /UNBAL

15LEFT

MONO

16RIGHT

TAPEIN

TAPEOUT

BALUN-BAL


LINE IN 12

XDR MIC PRE

MIC 11-12

L

R

PHONES

A

B

LAMP

12V0.5A



At the risk of stating the obvious, this iswhere you plug everything in: microphones,line-level instruments and effects, and the ulti-mate destination for your sound: a taperecorder, PA system, etc. Many of the featuresdescribed in this section are on top of themixer, but some are on the rear panel.

E-Z INTERFACINGConcerned about levels,

balancing, impedances, po-larity, or other interfacegoblins? Don’t be. On your

1642-VLZ PRO, you can patch anything almostanywhere, with nary a care. Here’s why:

• Every input and output is balanced(except inserts, phones and RCA jacks).

• Every input and output will also acceptunbalanced lines (except XLR jacks).

• Every input is designed to accept virtuallyany output impedance.

• The main left and right mix outputs candeliver 28dBu into as low as a 600 ohm load.

• All the other outputs can deliver 22dBuinto as low as a 600 ohm load.

• All the outputs are in phase with the inputs.All we ask is that you perform the Level-Setting

Procedure every time you patch in a newsound source. So stop worrying and start mixing!

MIC AND LINE INPUT FLEXIBILITYChannels 1-8 are mono channels with MIC

and LINE inputs, featuring our new XDR Ex-tended Dynamic Range mic preamp circuitry.Channels 9-10 and 11-12 are stereo pairs withleft and right LINE inputs and a single MIC in-put feeding each pair. Channels 13-14 and15-16 are stereo pairs with LINE inputs only.

MIC INPUTSWe use phantom-powered, balanced micro-

phone inputs just like the big studio mega-consoles, for exactly the same reason: Thiskind of circuit is excellent at rejecting hum

PATCHBAY DESCRIPTIONand noise. You can plug in almost any kind ofmic that has a standard XLR-type male micconnector. Always be sure to perform theLevel-Setting Procedure . To learn how sig-nals are routed from these inputs: . If youwire your own, connect them like this:

2

2

3 1

1

SHIELD

COLD

HOT

SHIELD

COLD

HOT

3

SHIELD

COLDHOT

3

2

1

Pin 1 = ground or shieldPin 2 = positive (+ or hot)Pin 3 = negative (– or cold)

Professional ribbon, dynamic, and con-denser mics will all sound excellent throughthese inputs. The 1642-VLZ PRO’s mic inputswill handle almost any kind of mic level youcan toss at them, without overloading.

A WORD ABOUT PHANTOM POWERMost condenser mics require phantom power,

where the mixer sends low-current DC voltage tothe mic’s electronics through the same wiresthat carry audio. The 1642-VLZ PRO’s phantompower is globally controlled by the PHANTOMswitch on the rear panel .

Semipro condenser mics often have batter-ies to accomplish the same thing. “Phantom”owes its name to an ability to be “unseen” bydynamic mics (Shure® SM57/SM58, for in-stance) that don’t need external power andaren’t affected by it anyway.

Unless you know forcertain it is safe to do so,never plug single-ended(unbalanced) microphones,instruments or electronic

devices into the MIC input jacks if the phantompower is on.

11

LINE INPUTSThese 1/4" jacks share circuitry (but not

phantom power) with the mic preamps. Youcan use these inputs for virtually any signalyou’ll come across, from instrument levels aslow as –50dB to operating levels of –10dBV to+4dBu, as there is 45dB of gain available viathe TRIM knob .

Note that channels 1-8 line inputs areintially attenuated by 15dB.

Always be sure to perform the Level-SettingProcedure .

To learn how signals are routed from theseinputs: . To connect balanced lines to theseinputs, use a 1/4" tip-ring-sleeve (TRS) plug,the type found on some stereo headphones:

Tip = positive (+ or hot)Ring = negative (– or cold)Sleeve = shield or ground

To connect unbalanced lines to these in-puts, use a 1/4" mono (TS) phone plug orstandard instrument cable:

Tip = signal (+)Sleeve = ground

TRIMThese controls are the top row of knobs in

the channel strip section. Every time you plugsomething into a MIC or LINE input jack, youshould perform the Level-Setting Procedure

, and that procedure is basically “how to usethe TRIM knob.”

TRIM adjusts the input sensitivity of theMIC and LINE inputs. This allows signals fromthe outside world to be adjusted to optimalinternal operating levels.

Through the XLR jack (MIC), there will be0dB of gain with the knob fully down, rampingto 60dB of gain fully up.

Through the 1/4" input (LINE), there is 15dBof attenuation fully down and 45dB of gain fullyup, with a “U” (unity gain) mark at 10:00.

This 15dB of attenuation can be very handywhen 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 thatmight lead to channel clipping.

The TRIM controls forstereo channels 9-10 and 11-12 are only used to adjustthe Mic inputs. The line in-puts are set to unity gain.

The TRIM controls for channels 13-14 and15-16 only adjust the line level inputs, as theyhave no Mic inputs.

INSERTThese 1/4" jacks are for connecting serial

effects processors such as compressors, equaliz-ers, de-essers, or filters . The INSERT point isafter the TRIM control, but before the channel’sEQ, LOW CUT, fader and MUTE controls. Insertcables must be wired thusly:

“tip”


tipring

sleeve

SEND to processor


(TRS plug)

Tip = send (to effects device input)Ring = return (from effects device output)Sleeve = common ground

Even though channels 1–8 already haveDIRECT OUT jacks , INSERT jacks can alsobe used as channel direct outputs; post-TRIM,pre-LOW CUT, and pre-EQ. Here are threeways you can use the INSERT jacks:

Direct out with no signal interruption.Insert only to first “click.”

Channel Insert jack

Channel Insert jack

Channel Insert jack

Direct out with signal interruption.Insert all the way in to the second “click.”

For use as an effects loop.(TIP = SEND to effect, RING = RETURN from effect.)

MONO PLUG

MONO PLUG

STEREO PLUG

1MUTE

TRIM1

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV

REC

1

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING

12

DIRECT OUT (on rear panel)Found only on channels 1–8, these 1/4" jacks

deliver the signal from the very end of thechannel path; post-TRIM, post-EQ, post-LOWCUT, post-fader and post-MUTE. You can usethese for recording, making the 1642-VLZ PROperfect for an 8-track studio.

RECORDINGWhen recording, you use the first two chan-

nels for your sound sources: vocal mics, drummics, keyboard/synth outputs, guitar effectsoutputs, that sort of thing. From there, thechannels manipulate the sound, but are not as-signed to the output section. Instead, they’repatched from the channel’s DIRECT OUT jacksto any of your 8 multitrack inputs. This allowsrecording of two tracks at a time. By recon-necting the Direct Outs to the different tapeinputs, you can record to all of the 8 tracks.

Once the tracking is completed, the outputsof the multitrack are then patched to channels3-12 LINE inputs on the 1642-VLZ PRO (multi-track out 1 to LINE input 3, 2 to 4, 3 to 5, etc.).Aha! That’s why it says “TRACK 1” next to chan-nel 3’s fader, “TRACK 2” next to channel 4, andso forth. These channels (3–12) will be as-signed to the mixer’s output section, deliveringthe signals to their ultimate destination, whichmay be your mixdown 2-track, your controlroom system, or your headphones.

But let’s not forget that the 1642-VLZ PRO isa 4-bus mixer. These buses lead to the SUBOUTS , and are designed to accomplish thetask of getting channels to the multitrack with-out using the direct outputs.

For example, a channel is assigned toSUB OUT 1. SUB OUT 1’s output is patched tomultitrack input 1. From there, the multitrackoutput goes to the mixer’s channel 3 LINE input,as we just discussed. (Hot tip: To feed an 8-track deck with 4 sub outputs, the 1642-VLZPRO has double busing, which simply meansthat bus 1 feeds SUB OUT 1 and SUB OUT 5,bus 2 feeds SUB OUT 2 and SUB OUT 6, bus 3feeds SUB OUT 3 and SUB OUT 7, and bus 4feeds SUB OUT 4 and SUB OUT 8. Patch the 8SUB 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 channelto any track, without repatching. You can as-sign multiple channels to one track and controlthe overall level of that subgroup . You can’tbounce tracks without this feature.

By returning the outputs of the effects pro-cessors to 13/14 (EFX A) and 15/16 (EFX B),you can choose to record or Monitor with ef-fects.

Perhaps the best recording method is acombination of both approaches: Use the SUBOUTS to feed multichannel submixes (like adrum kit) to some of the tracks, and theDIRECT OUT jacks to feed single-channel sig-nals (like bass guitar) to the other tracks.

The point is that you never listen directly tothe source channels. You listen to the monitorchannels (3–12) and they’re listening to the mul-titrack that is listening to the source channels.The main advantage is that you won’t be forced toconstantly repatch your multitrack — just set itup and forget it. You’ll also know for certain thatthe signals are indeed getting to the multitrack,since you’re constantly listening to it.

Another method of interfacing a multitrack iscalled inline monitoring, and requires a mixingconsole dedicated to that, like the Mackie8•Bus. Each of its channels is actually two chan-nels: one carrying the mic/line sound source andthe other carrying the multitrack output.

AUX SEND OUTPUTSThese 1/4" jacks usually patch to the inputs

of your parallel effects devices or to the in-puts of your stage monitor amps. To learn howsignals are routed to these outputs, see the Auxdiscussion on page 25.

13

EFFECTS: SERIAL OR PARALLEL?You’ve heard us carelessly toss around the

terms “serial” and “parallel.” Here’s what wemean by them:

“Serial” means that the entire signal leavesthe mixer (INSERT send), is routed through theeffects device, and returns to the mixer(INSERT return). Examples: compressor, lim-iter, graphic equalizer. Line-level sources canalso be patched through a serial effects devicebefore or after the mixer.

“Parallel” means that a portion of the signalin the mixer is tapped off to the device (AUXSEND), processed, and returned to the mixer(AUX RETURN) to be mixed with the original“dry” signal. This way, multiple channels canall make use of the same effects device.Examples: reverb, digital delay.

AUX RETURN INPUTSThis is where you connect the outputs of your

parallel effects devices (or extra audio sources).They’ll accept just about any pro or semiproeffects device on the market. See page 26 fordetails of the AUX RETURN level controls.

Mono: If you have an effects device with amono output (one cord), plug that into L in-put of an AUX RETURN and leave the rightinput unplugged. That way, the signal will besent to both sides, magically appearing in thecenter as a mono signal.

SUB OUTSThese 1/4" jacks are usually patched to the in-

puts of a multitrack deck, or to secondaryamplifiers in a complex installation. See page22 for details of the SUBGROUP FADERS .

Double BusingHow on earth do you get four buses to

feed eight tracks? Double busing!• 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 4 and 8Tracks in record mode will accept the signal,

and tracks in safe mode will ignore the signal.

L

R

MONO(BAL/UNBAL)

AUX RETURN(BAL/UNBAL)

DIRECT OUTS(BAL/UNBAL)

SUB OUTS(BAL/UNBAL)

C-R OUTS(BAL/UNBAL)


RING RETURN) 1 1

84321 7 6 5 4 3 2 1

5

2

6

3

7

4 2 3 4

8

L(MONO)(MONO)(MONO)(MONO)

R

L

R

L

R

L

R

MAIN(BAL/UNBAL)


MAIN OUTS

L

R

L

R

L

R

U

OO +6LEVEL

MIC+4

MAINOUTPUTLEVEL

Serial Device (e.g., Compressor)

Parallel Device (e.g., Reverb)

14

LN-

L13

LEFT

LEFT

RIGHT

LEFT

RIGHT

MONOMONOO

14RIGHT

BAL /UNBAL

BAL /UNBAL

15LEFT

MONO

16RIGHT

TAPEIN

TAPEOUT

BALUN-BAL


LINE IN 12

XDR MIC PRE

MIC 11-12

L

R

PHONES

A

B

LAMP

12V0.5A

C-R OUTS (CONTROL ROOM OUTPUTS)These 1/4" jacks are usually patched to the

inputs of your control room amplifier or aheadphone distribution amplifier. See page 23CONTROL ROOM AND PHONES for de-tails of the signal routing to these outputs.

PHONES OUTPUTSThe 1642-VLZ PRO’s stereo 1/4" phones jacks

will drive any standard headphone to very loudlevels. Walkperson-type phones can also beused with an appropriate adapter. See page 23CONTROL ROOM AND PHONES for de-tails of the signal routing to these outputs. Ifyou’re wiring your own cable for the PHONESoutput, follow standard conventions:

Tip = left channelRing = right channelSleeve = common ground

WARNING: When we saythe headphone amp isloud, we’re not kidding. Itcan cause permanent eardamage. Even intermedi-

ate levels may be painfully loud with someearphones. BE CAREFUL!

Always turn the PHONES knob all the waydown before connecting headphones. Keep itdown until you’ve put the phones on. Thenturn it up slowly. Why? “Engineers who frytheir ears find themselves with short careers.”

TAPE OUTPUTThese unbalanced RCA jacks tap the MAIN

MIX outputs to make simultaneous recordingand PA work more convenient. Connect theseto your 2-track recorder’s inputs. See page 22MAIN MIX FADER for details of the signalrouting to these outputs.

Mono: If you want to feed a mono signal toyour tape deck or other device, simply use the1/4" MONO output jack . Alternatively, usean RCA Y-cord to combine the TAPE OUTPUTjacks (Radio Shack® #274-511, for instance).Do not attempt this with any other outputs onthe 1642-VLZ PRO.

TAPE INPUTThese unbalanced RCA jacks are designed

to work with semipro as well as pro recorders.Connect your 2-track tape recorder’s outputshere, using standard hi-fi RCA cables. To learnhow signals are routed from these inputs: .

Use these jacks for convenient playback ofyour mixes. You’ll be able to review a mix, andthen rewind and try another pass withoutrepatching or disturbing the mixer levels. Youcan also use these jacks with a portable tapeor CD player to feed music to a PA systembetween sets .

NOTE: Pushing TAPE TOMAIN MIX in the output sec-tion automaticallydisconnects the TAPE OUT-PUT from the MAIN OUTbus. This prevents creating afeedback loop, which could

create quite a howl in your system (and youraudience!).

MAIN INSERTThese 1/4" jacks are for connecting serial

effects such as compressors, equalizers, de-essers, or filters . The INSERT point is afterthe mix amps, but before the MAIN MIX fader.Insert cables must be wired thusly:

“tip”


tipring

sleeve

SEND to processor


(TRS plug)

Tip = send (to effects device inputs)Ring = return (from effects device outputs)Sleeve = common ground (connect shield to

all three sleeves)

MAIN OUTSTwo sets of jacks are provided for the MAIN

OUTS, 1/4" TRS jacks and XLR jacks. These areusually patched to the inputs of your 2-trackmixdown deck (unless you’ve chosen to usethe TAPE OUTPUT RCA jacks), or to the houseamplifier during live sound sessions.

In addition, the XLR MAIN OUTS have aswitch to match the signal level to the input ofthe device you're connecting them to. Push the

SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING

15

switch in to reduce the output by 30dB, so youcan feed the mic input of another mixer, forexample. Leave the switch out to connect toprofessional +4 dBu devices. To learn how sig-nals are routed to these outputs: .

To use the 1/4" outputs to drive balanced in-puts, connect 1/4" TRS (Tip-Ring-Sleeve)phone plugs like this:

Tip = + (hot)Ring = – (cold)Sleeve = ground

To use these outputs to drive unbalancedinputs, connect 1/4" TS (Tip-Sleeve) phoneplugs like this:

Tip = signalSleeve = ground

MONO OUTPUTIt happens to everybody sooner or later:

The forces that govern your world will demanda monaural output from your painstakingly-created stereo panorama. The last thing youwant to do is start twirling all your carefully-placed PAN settings to one side. What to do?Stick a cord in this 1/4" jack, hand the otherend to Mr. Mono, and you’re done. He’s got hismono mix and you’ve still got your stereo mix.The MONO output is nothing more than asum of the left and right MAIN MIX.

MONO LEVELIf Mr. Mono's main mono mix is maxed, just

reach for this knob and turn it down a bit. Justthe thing for sending mono signals to mic in-puts like camcorders, telephone interfaceboxes, even answering machines. With the potall the way up (fully clockwise), you’ll have6 dB of extra gain, and unity gain is at the 12o'clock position.

POWER CONNECTIONJust in case you lose the cord provided with

the 1642-VLZ PRO, its power jack accepts astandard 3-prong IEC cord like those found onmost professional recorders, musical instru-ments, and computers. You can get a new one atany electronics, music, or computer store. Youcan even buy them at Radio Shack® (part #278-1257).

Plug the 1642-VLZ PRO into any standardgrounded (3-pin) AC outlet or power strip ofthe correct voltage.

WARNING: Disconnectingthe plug’s ground pin canbe dangerous. Pleasedon’t do it.

FUSEThe 1642-VLZ PRO is fused for your (and

its own) protection. If you suspect a blownfuse, disconnect the power cord, pull the fusedrawer out (located just below the cord re-ceptacle) and replace the fuse with a 1A SLOBLO, 5x20mm, available at electronics stores oryour dealer (or a 0.5A SLO BLO 5x20mm ifyour 1642-VLZ PRO is a 220V-240V unit).

POWER SWITCHYou can leave this switch on all the time;

the mixer is conservatively designed, so heatbuildup isn’t a problem even in 24-hour-a-dayoperation. This is provided that the mixer re-ceives adequate ventilation. You may noticethat the mixer feels quite warm but there’snothing that will burn out or get used up.

Switching to the top " " position turns themixer on, by connecting it to main AC power.This is confirmed by the front panel POWERLED. Switching to the lower position turns themixer into STANDBY, and the LED will turn off.

Note: Turning off the power switch doesnot remove all power from the mixer. To re-move all power from the mixer, the power cordmust be removed from the AC power source.

SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USAPATENTS PENDING

COPYRIGHT ©1998 • THE FOLLOWING ARE REGISTERED TRADEMARKS OFMACKIE DESIGN INC.: "MACKIE", "XDR", AND THE "RUNNING MAN" FIGURE L

R

MONO(BAL/UNBAL)




CAUTION:

C-R OUTS(BAL/UNBAL)


RING RETURN)

4321

L

R

L

R

MAIN(BAL/UNBAL)


MAIN OUTS

L

R

U

OO +6LEVEL

MIC+4

MAINOUTPUTLEVEL

POWERON

PHANTOMON

16

13LEFT

LEFT

RIGHT

LEFT

RIGHT

MONO

14RIGHT

BAL /UNBAL

BAL /UNBAL

15LEFT

MONO

16RIGHT

TAPEIN

TAPEOUT

LINE IN LINE IN PHONES

A

B

LAMP

12V0.5A






CAUTION:

, ,

POWERON

PHANTOMON

POWER LEDYou’ve probably already figured this out, but

if the POWER switch is on, this LED (light-emitting diode), located in the output section,will light. If the switch is off, well, you get theidea. If the POWER switch is on and the LEDdoes not glow, one of three things has hap-pened: Somebody tripped over the power cordand yanked it from the outlet, your electricityhas been turned off due to nonpayment, or thefuse has blown .

PHANTOM SWITCHThe PHANTOM switch controls the phan-

tom power supply for condenser microphones asdiscussed at the start of this section . Whenturned on (or off), the phantom power circuitrytakes a few moments for voltage to ramp up (ordown). This is perfectly normal.

PHANTOM LEDLocated right next to the POWER LED in the

output section, this is just to let you know whichway you have the PHANTOM switch set. If yourdynamic mics work and your condensers don’t,chances are this LED is off, so turn it on.

You’ll notice that when you turn the phan-tom power off, the LED stays on for a while.This is a natural phenomenon — the LED isactually a yellow voltmeter telling you that thephantom power takes time to ramp itself downto zero volts. So, if you’ve turned phantompower off to connect something to the mic in-puts, wait until the yellow LED stops glowingand then make your connections safely.

BNC LAMP SOCKETLocated in the top right corner of the out-

put section, this 12V socket will drive anystandard BNC-type lamp (a Littlite® #12G or#12G-HI (high-intensity), for instance).

U

OO+20

OO+20

U

OO+15

OO+15

STEREO AUX RETURN

EFFECTS TO MONITORS

TO AUXSEND 2

TO AUXSEND 11

2

1

2

3

4C-R / PHNS

ONLYRETURNS

SOLO

MAIN MIXTO SUBS

ASSIGN OPTIONS

1–23–4

U

OO+20

U

OO+20

U

OO+10

U

OO+10

AUX SEND

1

2

PWRPHAN

SOLO

SOLO

1

2

U U

17

CHANNEL STRIP DESCRIPTION

A Clean FadeFaders are not rocketscience — they operate bydragging a metal pin (thewiper) across a carbon-

based strip (the track). It is possible forairborne crud to land on the track. Should thathappen, you may hear scratchy noises or signaldropouts as the wiper stumbles over the crud.Do all you can to keep airborne crud out ofyour profession. Use air conditioned roomswhenever possible, avoid smoking near themixer, keep food and drink away from themixer, and for pity’s sake, never put the mixerin your kitchen! We also recommend “exercis-ing” the faders — give them a few full-travelexcursions once a week or so, and that willhelp scare the crud away. We do not recom-mend spray cleaners.

ASSIGN (1–2, 3–4, L/R)Alongside each channel fader are four but-

tons, labeled SOLO, 1–2, 3–4 and L/R. Thelatter three are collectively referred to as chan-nel assignment switches. 1, 3 and L are the leftsides of these stereo pairs, and 2, 4 and R arethe right sides. Used in conjunction with thechannel’s PAN knob , these switches deter-mine the destination of a channel’s signal:With the PAN knob set at the center detent,the left and right sides receive equal signallevels. To feed only one side or the other, justturn the PAN knob accordingly.

If you’re doing a mixdown to a 2-track, simplyengage the L/R switch on each channel that youwant to hear, and they’ll be sent to the MAINMIX. If you want to create a subgroup of certainchannels, engage either the 1–2 or 3–4 switchesinstead of the L/R, and they’ll be sent to the ap-propriate subgroup faders . From there, thesubgroups can be sent back to the MAIN MIX

, allowing you to use the subgroup faders as amaster control for those channels.

There are eight mono channel strips andfour stereo channel strips. Many of the func-tions are identical for the mono and stereochannels. We’ll start at the bottom and workour way up, pointing out the differences as wego along.

“U” LIKE UNITY GAINMackie mixers have a “U”symbol on almost everylevel control. This “U”stands for “unity gain,”meaning no change in sig-

nal level. Once you have performed theLevel-Setting Procedure , you can set everycontrol at “U” and your signals will travelthrough the mixer at optimal levels. What’smore, all the labels on our controls are mea-sured in decibels (dB), so you’ll know whatyou’re doing level-wise if you choose to changea control’s settings.

You won’t have to check it here and check itthere, as you would with some other mixers. Infact, some don’t even have any reference toactual dB levels at all! Ever seen those “0–10”fader markings? We call these AUMs (ArbitraryUnits of Measurement), and they mean noth-ing in the real world. You were smart — youbought a Mackie.

FADERThe fader is almost the last control in a

channel’s signal path. It’s placed after the EQand MUTE controls (post-EQ /post-MUTE andbefore the PAN control (pre-PAN). The “U”mark, about three-quarters of the way up,indicates unity gain, meaning no increase ordecrease of signal level. All the way up pro-vides an additional 10 dB, should you need toboost a section of a song. If you find that theoverall level is too quiet or too loud with afader near unity, you’ll want to confirm theTRIM setting by performing the Level-SettingProcedure .

1MUTE

TRIM1

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV

REC

1

18

If you’re printing new tracks or bouncing ex-isting ones, you’ll also use the 1–2 and 3–4switches, but not the L/R switch. Here, youdon’t want the subgroups sent back into theMAIN MIX, but sent out, via the SUB OUTSjacks, to your multitrack inputs . However, ifyou’re printing tracks via the DIRECT OUTjacks , all the channel assignment switchesshould be disengaged (up).

The 1642-VLZ PRO is what we call a “true4-bus mixer.” Each channel can be assigned orunassigned to any of the subgroups without af-fecting the other subgroups or settings withinthe channel, and each subgroup has its ownmaster fader and dedicated output . Infact, since there are 4 subgroups and the MAINL/R MIX, it’s actually a true 6-bus mixer. Wecould have named it the 1662-VLZ PRO. Darn!

SOLOThis lovable switch allows you to check

signals through your PHONES output or C-ROUTS without having to assign them to theL/R, 1-2 or 3-4 mixes. You can solo as manychannels as you like. SOLO does not interruptany of the other channels, buses or outputs —that’s called nondestructive solo. Not only that,via the MODE switch , the 1642-VLZ PRO’ssolo system comes in two flavors: NORMAL(AFL) (sometimes called SIP, or solo-in-place)and LEVEL SET (PFL) (sometimes called PFL,or pre-fader-listen).

During NORMAL (AFL) mode, the soloedchannel’s signal is sent directly to the C-R OUTS,PHONES output, and meter display just as itwould sound to the channel’s assignmentswitches: post-EQ, post-fader and post-PAN.The only difference is that SOLO works re-gardless of the channel’s assignment positions,and that makes it really handy — you cancheck out a channel before you assign it.

NORMAL (AFL) is the preferred mode duringmixdown: If the channel has some midrangeboost at 4.2kHz, is panned a smidgen to theleft, and its fader is at –5dB, that’s exactlywhat you’ll hear if you SOLO during NORMAL(AFL) mode. It’s just as if you took the time toMUTE all the other channels.

LEVEL SET (PFL) solo is the key player in theall-important Level-Setting Procedure . It’llsend the channel’s actual internal levels to themeters so you’ll know just what’s going on, level-wise. This procedure should be performed everytime a new sound source is patched into achannel’s MIC or LINE input jacks.

LEVEL SET (PFL) is also the preferred modefor SR (sound reinforcement, or live sound), topreview channels before they are let into themix. It won’t give you stereo placement, but willgive you signal even if the fader is pulled down.

Remember, LEVEL SET (PFL) taps the chan-nel signal before the fader. If you have achannel’s fader set way below “U” (unity gain),SOLO won’t know that and will send a unitygain signal to the C-R OUTS, PHONES outputand meter display. That may result in a startlinglevel boost at these outputs, depending on theposition of the SOLO level knob .

In a nutshell, soloed channels are sent tothe SOURCE mix , that ultimately feeds yourC-R OUTS, PHONES output and meter display.Whenever SOLO is engaged, all SOURCE se-lections (MAIN MIX, 1–2, 3–4 and TAPE) aredefeated, to allow the soloed channel to do justthat — SOLO!

–20 (SOLO) LEDAn LED that does two completely different

things! Saves space, but requires some expla-nation. First, the “–20” part: Often referred toas “signal activity,” this LED will flicker in timewith the signal present in that channel. It’shandy for confirming that a channel is indeedactive, and may also lend a clue as to what thesignal is. For instance, a kick drum will causethe LED to pulse in time with the drum, and asynth pad will cause it glow a bit more steadily.

Now for the “SOLO” part. When a channel’sSOLO switch is engaged, this LED will glowsteadily, without flickering. It will also bebrighter than it would be as a –20 indicator. Inconjunction with the RUDE SOLO LIGHT ,you can find a rogue SOLO switch very quickly.

OL (MUTE) LEDAnother LED that does two completely differ-

ent things! First, the “OL” part: “OL” meansoverload, or clip. You don’t want that to happen.Ever. Clipping can happen to any mixer — it’sthe point where the signal’s voltage exceeds thesupply voltages that power the circuitry. The1642-VLZ PRO’s OL LED will come on just be-fore clipping, so if you see it, take immediateaction: Perform the Level-Setting Procedure .If that doesn’t help, check for excessive use ofEQ boost or fader gain. Like the –20 LED, it willtend to flicker in time with that channel’s signal.

Now for the “MUTE” part. Assuming yourlevels are set correctly, the OL LED will nevercome on as a result of clipping. That’s pretty

1MUTE

TRIM1

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV

REC

1

19

Stereo SourcesUse channels 9-16 to connect stereo sound

sources. If you must use the mono channelstrips (1-8) for stereo sources, follow this stan-dard convention: Always plug the left signalinto an “odd” channel (1, 3, 5, etc.) and theright signal into the adjacent “even” channel(2, 4, 6, etc.). Then pan the odd channel hardleft and the even channel hard right.

CONSTANT LOUDNESS ! ! !The 1642-VLZ PRO’s PAN

controls employ a designcalled “Constant Loudness.”It has nothing to do with

living next to a freeway. As you turn the PANknob from left to right (thereby causing thesound to move from the left to the center tothe right), the sound will appear to remain atthe same volume (or loudness).

If you have a channel panned hard left (orright) and reading 0 dB, it must dip downabout 4 dB on the left (or right) when pannedcenter. To do otherwise, like those Brand Xmixers, would make the sound appear muchlouder when panned center.

3-BAND MID-SWEEP EQThe 1642-VLZ PRO mono channels have a 3-

band, mid-sweep equalization: LOW shelving at80Hz, MID sweep peaking from 100Hz to 8kHz,and HI shelving at 12kHz. It’s probably all theEQ you’ll ever need! (Shelving means that thecircuitry boosts or cuts all frequencies past thespecified frequency. For example, the 1642-VLZPRO’s LOW EQ boosts bass frequencies startingat 80Hz and continuing down to the lowest noteyou never heard. Peaking means that certainfrequencies form a “hill” around the center fre-quency.)

The LOW EQ provides up to 15 dB boost or cutat 80Hz. The circuit is flat (no boost or cut) at thecenter detent position. This frequency representsthe punch in bass drums, bass guitar, fat synthpatches, and some really serious male singers.

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

0

+5

+10

+15

boring. So, to liven things up, this LED willglow steadily when that channel’s MUTEswitch is engaged.

If you need a quick reference to these LEDs,write this on the back of your hand:

Name Color Flickering Glowing–20 (Solo) green signal is present channel is soloedOL (Mute) red channel is clipping channel is muted

MUTEEngaging a channel’s MUTE switch pro-

vides the same results as turning the fader allthe way down: Any channel assignment toL/R, 1-2 or 3-4 will be interrupted. All thepost AUX sends will be silenced, as willthe DIRECT OUT signals on channels 1through 8. And of course, that fun-loving OL(MUTE) LED will commence to glow. ThePRE AUX sends , channel INSERT send and SOLO (in LEVEL SET (PFL) mode) willcontinue to function during MUTE.

Depending on the audio content in a chan-nel, engaging its MUTE switch may cause aslight popping sound. This is not a problemwithin the mixer, and it can be avoided: Sim-ply engage the LOW CUT switch on eachchannel (unless its low frequency content isvitally important, such as a kick drum or bassguitar). LOW CUT eliminates subsonic de-bris, which causes the pop, and its effect isusually transparent.

PANPAN adjusts the amount of channel signal

sent to the left versus the right outputs. Pan de-termines the fate of the L/R assignment,subgroups 1–2 and 3–4, and the SOLO (inNORMAL (AFL) mode). With the PAN knobhard left, the signal will feed the left MAIN MIX,subgroup 1, subgroup 3 and left NORMAL(AFL) solo mode (assuming their assignmentswitches are engaged). With the knob hardright, signal feeds the right MAIN MIX, sub-group 2, subgroup 4 and right NORMAL (AFL)solo mode. With the PAN knob set somewherein-between left and right, the signal will be di-vided between the left and right buses.

The PAN knob behaves a little differently forthe stereo channel strips. Since there is a leftand right input on these channels, the PANknob controls the relative balance between theleft and right sides, just like the balance con-trol on your stereo system at home.

1MUTE

TRIM1

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV

REC

1

20

Used in conjunction with the LOW CUTswitch , you can boost the LOW EQ withoutinjecting a ton of subsonic debris into the mix.We recommend using the LOW CUT feature onall channels, except low frequency signals, likekick drums and bass guitars.

The MID EQ , or “midrange,” has a fixedbandwidth of 1.5 octaves. The MID knob setsthe amount of boost or cut, up to 15 dB, and iseffectively bypassed at the center detent. Thefrequency knob sets the center frequency,sweepable from 100Hz to 8kHz.


–15

–10

–5

0

+5

+10

+15


–15

–10

–5

0

+5

+10

+15

Most of the root and lower harmonics thatdefine a sound are located in the 100Hz–8kHzfrequency range, and you can create drasticchanges with these two knobs. Many engineersuse MID EQ to cut midrange frequencies, notboost them. One popular trick is to set the MIDfully up, turn the frequency knob until you finda point where it sounds just terrible, then backthe MID down into the cut range, causingthose terrible frequencies to disappear. Soundssilly, but it works. Sometimes.

The HI EQ provides you up to 15 dB boost orcut at 12kHz, and it is also flat at the detent. Useit to add sizzle to cymbals, an overall sense oftransparency, or an edge to keyboards, vocals, gui-tar and bacon frying. Turn it down a little toreduce sibilance or to mask tape hiss.


–15

–10

–5

0

+5

+10

+15

With too much EQ, you can screw things uproyally. We’ve designed a lot of boost and cutinto each equalizer circuit because we knoweveryone will occasionally need that. But if youmax the EQ on every channel, you’ll get mixmush. Equalize subtly and use the left sides ofthe knobs (cut), as well as the right (boost). Ifyou find yourself repeatedly using full boost orcut, consider altering the sound source, suchas placing a mic differently, trying a differentkind of mic, changing the strings, or gargling.

4-BAND FIXED-FREQUENCY EQThe stereo channels (9-16) have a 4-band,

fixed-frequency equalization: LOW shelving at80Hz, LOW MID peaking at 800Hz, HI MIDpeaking at 3kHz, and HI shelving at 12kHz.

Each of these filters provides up to 15 dB ofboost or cut. As with the mono channels, thecircuit is flat (no boost or cut) at the centerdetent positions.

LOW CUTThe LOW CUT switch (not present on

channels 13-16), often referred to as a highpass filter (all depends on how you look at it),cuts bass frequencies below 75Hz at a rate of18 dB per octave. This ain’t no thrown-indime-store filter — an 18 dB per octave curverequires an elaborate circuit. Nothing but thebest for you.

We recommend that you use LOW CUT on ev-ery sound source except kick drum, bass guitar,bassy synth patches, or recordings of earth-quakes. These aside, there isn’t much down therethat you want to hear, and filtering it out makesthe low stuff you do want much more crisp andtasty. Not only that, but low cut can help reducethe possibility of feedback in live situations, and ithelps to conserve amplifier power.

With LOW CUT, you can safely boost LOWEQ . Many times, bass shelving eq can reallybenefit voices. Trouble is, adding LOW EQ alsoboosts the subsonic debris: Stage rumble, michandling clunks, wind noise and breath pops.LOW CUT removes all that debris so you canboost the LOW EQ without frying your woofer.Here’s a frequency curve of LOW EQ combinedwith LOW CUT:


–15

–10

–5

0

+5

+10

+15

1MUTE

TRIM1

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV

REC

1

Mono Channel

21

AUX 1, 2, 3, & 4These four knobs tap a portion of each

channel’s signal, mix them together and sendthem to the AUX SEND outputs . They areoff when turned fully down, deliver unity gainat the center detent, and can provide up to 15dB of gain turned fully up. Chances are you’llnever need this extra gain, but it’s nice toknow it’s there if you do.

The AUX SEND outputs are then patchedto parallel effects processor inputs orstage monitor amp inputs. AUX SENDS 1 and2 levels are controlled not only by thechannel’s AUX knobs, but also by the AUXSEND master knobs .

AUX SENDS can also be used to generateseparate mixes for recording or “mix-minuses”for broadcast. By using AUX 1 or 2 in the PREmode , these mix levels can be obtained in-dependently of a channel’s fader settings.

We recommend going into a stereo reverb inmono and returning in stereo. We have foundthat on most “stereo” reverbs, the second inputjust ties up an extra aux send and adds nothingto the sound. There are exceptions, so feel freeto try it both ways. Should you choose to use twoaux sends, use the “odd” AUX (1 or 3) to feed

2

3

TRIM1516

U

OO+15U

O

U

+15

U

OO+15

AUX

PRE

U

+20-20

U

+15-15

EQ

12kHI

OO+15

O

PAN

HIMID3K

LOWMID

800Hz

80HzLOW

L R

+15-15U

+15-15U

+15-15

EFX

B

15-16MUTE

U

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

1

4

Pre Vs. Post

its left input and the “even” AUX (2 or 4) tofeed the right input. Remember, if you’re alsodealing with a stereo source signal, you’ll wantto follow the sides — use the odd AUX on thechannel carrying the left side and the even AUXon the channel carrying the right.

PREThis switch determines the tap point of

AUX 1 and 2. Generally, “post” sends are usedto feed effects devices, and “pre” sends areused to feed your stage monitors. See the “Prevs. Post” diagram below. AUX 3 and 4 arealways in post mode.

In post mode (switch up), AUX 1 and 2 willfollow the EQ, LOW CUT, fader and MUTE set-tings. If you fade the channel, you fade thesend. This is a must for effects sends, since youwant the levels of your “wet” signals to followthe level of the “dry.”

In PRE mode (switch down), AUX 1 and 2follow the TRIM and LOW CUT settings only.EQ, PAN, fader and MUTE settings have no ef-fect on the PRE sends. This is the preferredmethod for setting up stage monitor feeds —they’ll be controlled independently of the faderand mute moves.

Stereo Channel

22

U

OO+20

OO+20

U

OO+15

OO+15

STEREO AUX RETURN

EFFECTS TO MONITORS

TO AUXSEND 2

TO AUXSEND 11

2

1

2

3

4C-R / PHNS

ONLYRETURNS

SOLO

MAIN MIXTO SUBS

ASSIGN OPTIONS

1–23–4

U

OO+20

U

OO+20

U

OO+10

U

OO+10

AUX SEND

1

2

PWRPHAN

SOLO

SOLO

1

2

SUBS 1–2

SUBS 3–4

MAIN MIX

CR SOURCE

TAPEOOMAXSOLO

RUDE SOLO LIGHT

15

26

37

48

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

LEVELSET

MODE


(PFL)

RIGHT

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

MAINMIX

CONTROL ROOMMAXOO

MAXOO

PHONES

U


OO+20TAPE IN

TAPE TOMAIN MIX

28

10

7

4

2

0

2

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10

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U U

mixers now employ VLZ circuitry and built-inpower supplies that deliver more than enoughcurrent, resulting in sonic specifications thatrival consoles upwards of $50,000!

SUBGROUP FADERSAs you might expect, these faders control the

levels of signals sent to the SUB OUTS. All chan-nels that are assigned to subgroups, not mutedand not turned fully down will appear at theSUB OUTS. Unlike the MAIN OUT, the sub-group signals do not pass through an insert jackon their way to the subgroup faders. That’s noproblem — should you want to send these sig-nals through a serial effects processor, simplypatch from the SUB OUTS to the effect’s input,and from the effect’s output to whatever the fi-nal destination is, usually a multitrack recorder.

The subgroup signal is off when its fader isfully down, the “U” marking is unity gain, andfully up provides 10dB additional gain. Re-member that if you’re treating two subgroupsas a stereo pair, subgroup 1 and 2 for example,make sure that both subgroup faders “ride”together, to maintain the left/right balance.

ASSIGN TO MAIN MIXOne popular use of the subgroups is to use

them as master faders for a group of channelson their way to the MAIN MIX. Let’s say you’vegot a drum kit hogging up seven channels andyou’re going to want to fade them out at a differ-ent rate than the other channels. You don’t wantto try that with seven hands or seven fingers, sojust un-assign these channels from L/R, reassignthem to subgroup 1–2, engage the ASSIGN TOMAIN MIX, LEFT on subgroup 1 and the AS-SIGN TO MAIN MIX, RIGHT on subgroup 2.Now you can ride the entire stereo drum mixwith two faders — 1 and 2.

If you engage just one ASSIGN TO MAINMIX switch per subgroup (LEFT or RIGHT),the signal sent to the MAIN MIX will be thesame level as the SUB OUTS. If you want thesubgroup to appear in the center of the mainmix, engage both the ASSIGN TO MAIN MIX,LEFT and ASSIGN TO MAIN MIX, RIGHTswitches. The signal will be sent to both sides,and will be attenuated just enough to pre-serve constant loudness, just like the channelPAN knobs when set in the center.

OUTPUT SECTION DESCRIPTION

You’ve just learned about theinput channels and how the sig-nals get in and out. The signalscome in via MIC and LINE inputjacks, are manipulated by thechannels, and then sent to theoutput section. In the outputsection, things get a bit morecomplicated, so put on yourthinking caps.

MAIN MIX FADERThis fader controls the lev-

els of signals sent to the MAINOUTPUTS and TAPE OUT-PUT RCA jacks . All channelsand AUX RETURNs that are as-signed to the MAIN MIX, notmuted and not turned fullydown will appear at the MAINOUT. Before the main mix getsto this fader, the signals passthrough the MAIN INSERT .

The MAIN MIX signals areoff with the fader fully down,the “U” marking is unity gain,and fully up provides 10dB ad-ditional gain. This additionalgain will typically never beneeded, but once again, it’snice to know it’s there. Thefader itself is a stereo versionof the channel and subgroupfaders — same supersmoothcustom taper, same dead si-lence when turned fully down.This is the fader to pull downat the end of the song when

you want “The Great Fade-Out.”

VLZ MIXARCHITECTURE

When designing a mixingcircuit, the lowest noise andbest crosstalk specs are

achieved by using Very Low Impedance (VLZ).To implement VLZ in a mixer, the power supplymust be able to deliver plenty of current to thecircuitry. That’s why those “wall wart” mixers areoften noisy — they can’t power a VLZ circuit.

At Mackie, audio quality is much more im-portant than the price of wall warts. All of our

23

CONTROL ROOM AND PHONESThese knobs control the level of the stereo

C-R OUTS and PHONES outputs . Eachcontrol range is from off through unity gain atthe detent, with 10dB of extra gain (whenturned fully clockwise).

When MAIN MIX is your SOURCE selection,those signals will now pass through two levelcontrols on the way to your control room ampand headphones — the MAIN MIX fader andthe CONTROL ROOM and PHONES controls.This way, you can send a nice healthy level tothe MAIN OUT jacks (MAIN MIX fader at“U”), and a quieter level to the C-R OUTS orPHONES (CONTROL ROOM or PHONESknobs wherever you like).

Whatever your selection, you can also use theC-R OUTS for other applications. It can be usedas an additional main mix output and this onewill have its own level control. However, shouldyou do this, be aware that if you engage a SOLOswitch , it will interrupt the mix, as we’ve al-ready covered .

Once again, engaging a SOLO switch willcause this dramatic turn of events: Any existingSOURCE matrix selections will be replaced bythe SOLO signals, appearing at the C-R OUTS,PHONES output and at the meter display. Theaudible solo levels are controlled by the SOLOlevel knob. The SOLO levels appearing on themeter display are not controlled by anything— you wouldn’t want that. You want to see theactual channel level on the meter display,regardless of how loud you’re listening.

TAPE IN (LEVEL)This knob controls the level of the stereo signal

coming from the TAPE INPUT RCA jacks. Its rangeis off when fully down, unity at the center detent,with 20dB additional gain turned fully up, whichmay come in handy if you’ve patched in a“walkperson” type device with wimpy output levels.After the TAPE IN level is determined, the stereotape signal can be sent to either of two places —the MAIN MIX or the SOURCE matrix .

TAPE TO MAIN MIXEngaging 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. Itdoes not interrupt other signals, just adds itselfto them. This switch can be very handy in alive sound situation when you want to playsoothing elevator music to an anxious crowd.

CR SOURCETypically, the engineer sends the main mix

to an audience (if live) or to a mixdown deck(if recording). But what if the engineer needsto hear something other than the main mix?With the 1642-VLZ PRO, the engineer has sev-eral choices of what to listen to. This is one ofthose tricky parts — have a double espressofirst.

Via the SOURCE switches, you can choose tolisten to any combination of MAIN MIX, SUBS1-2, SUBS 3-4 and TAPE. Selections made in theSOURCE matrix deliver stereo signals to theC-R OUTS, PHONES output and meter display.These signals are tapped after their respectivelevel controls — post-MAIN MIX fader, postsubgroup faders and post-TAPE IN knob. Withno switches engaged, there will be no signal atthese outputs and no meter indication, with twoexceptions (SOLO / and AUX RETURN 4 ).

One of those exceptions is the SOLO func-tion / . Regardless of the SOURCE matrixselection, engaging a SOLO switch will replacethat selection with the SOLO signal, also sentto the C-R OUTS, PHONES output and meterdisplay. This is what makes the Level-SettingProcedure so easy to do.

Now you know how to select the signals youwant to send to the engineer’s control roomand/or phones. From there, these signals all passthrough two level controls:

SUBS 1–2

SUBS 3–4

MAIN MIX

CR SOURCE

TAPEOOMAXSOLO

RUDE SOLO LIGHT

LEVELSET

MODE


(PFL)

CONTROL ROOMMAXOO

MAXOO

PHONES

U


OO+20TAPE IN

TAPE TOMAIN MIX

28

10

7

4

2

0

2

4

7

10

20

30

24

MODE (NORMAL (AFL)/LEVEL SET (PFL))You may have already seen this in the SOLO discussion, but in case you missed it: The

1642-VLZ PRO’s solo system comes in two flavors:

NORMAL (AFL) (sometimescalled SIP, or solo-in-place)

LEVEL SET (PFL) (sometimescalled PFL, or pre-fader-listen)

In NORMAL (AFL), the soloedchannel’s signal is sent directly tothe C-R OUTS, PHONES outputand meter display just as it wouldsound to the channel’s assign-ment switches: post-EQ,

post-fader and post-PAN. The only difference isthat SOLO works regardless of the channel’s as-signment positions, and that makes it reallyhandy — you can check out a channel beforeyou assign it.

NORMAL (AFL) is the preferred mode dur-ing mixdown: If the channel has somemidrange boost at 4.2kHz, is panned a smidgento the left, and its fader is at –5dB, that’s ex-actly what you’ll hear if you SOLO duringNORMAL (AFL) mode. It’s just as if you tookthe time to MUTE all the other channels.

LEVEL SET (PFL) solo is the key player in theall-important Level-Setting Procedure . It’llsend the channel’s actual internal levels to themeters so you’ll know just what’s going on, level-wise. This procedure should be performed everytime a new sound source is patched into achannel’s MIC or LINE input jacks.

LEVEL SET (PFL) is also the preferred modefor SR (sound reinforcement, or live sound), topreview channels before they are let into themix. It won’t give you stereo placement, but willgive you signal even if the fader is turned down.

Remember, LEVEL SET (PFL) taps the chan-nel signal before the fader. If you have achannel’s fader set way below “U” (unity gain),SOLO won’t know that and will send a unitygain signal to the C-R OUTS, PHONES outputand meter display. That may result in a star-tling level boost at these outputs, dependingon the position of the SOLO level knob .

LEVEL SET LEDTo quote step 6 of the Level-Setting

Procedure , “Push in the MODE switch inthe output section (LEVEL SET (PFL) mode) —the LEVEL SET LED will light.” When the soloMODE switch is engaged, it’s in LEVEL SET(PFL) mode, the mode you must be in to setlevels. Now, when you engage any solo switch,this LED will be a “green light” to set levels. Ifyou tried to set levels during NORMAL (AFL)mode, the meter display would be at themercy of the channel fader, and that would bea big problem.

SOLO (LEVEL)This knob controls the level of the signals

coming from the SOLO system. It’s range is offwhen fully down, unity at the center detent,with 10dB additional gain turned fully up. Afterthe SOLO level is determined, the SOLO signalswill proceed to take over the C-R OUTS,PHONES output and meter display .

Once again, LEVEL SET (PFL) SOLO tapsthe channel signal before the fader. If youhave a channel’s fader set way below “U”(unity gain), LEVEL SET (PFL) SOLO won’tknow that and will send a unity gain signal tothe C-R OUTS, PHONES output and meterdisplay. That may result in a startling levelboost at these outputs, depending on theposition of the SOLO level knob.

RUDE SOLO LIGHTThis flashing LED (light emitting diode)

serves two purposes — to remind you thatyou’re in SOLO, and to let you know thatyou’re mixing on a Mackie. No other companyis so concerned about your level of SOLOawareness. We even force the soloed chan-nel’s –20 LED to play along, so you can findthat rogue switch fast.

If you work on a mixer that has a SOLOfunction with no indicator lights, and youhappen to forget you’re in SOLO, you can eas-ily be tricked into thinking that something iswrong with your mixer. Hence the RUDESOLO LIGHT. It’s especially handy at about3:00 in the morning, when no sound is comingout of your monitors, even though your multi-track is playing back like mad.

SUBS 1–2

SUBS 3–4

MAIN MIX

CR SOURCE

TAPEOOMAXSOLO

RUDE SOLO LIGHT

LEVELSET

MODE


(PFL)

CONTROL ROOMMAXOO

MAXOO

PHONES

U


OO+20TAPE IN

TAPE TOMAIN MIX

28

10

7

4

2

0

2

4

7

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25

METERSThe 1642-VLZ PRO’s peak metering system is

made up of two columns of twelve LEDs. Decep-tively simple, considering the multitude of signalsthat can be monitored by it. If nothing is selectedin the SOURCE matrix and no channels are inSOLO, the meter display will just sit there. Toput them to work, you must make a selection inthe SOURCE matrix (or engage a SOLO switch).

Why? You want the meter display to reflectwhat the engineer is listening to, and the engi-neer is listening either to the C-R OUTS or thePHONES output. The only difference is thatwhile the listening levels are controlled by theCTL ROOM and PHONES knobs, the meterdisplay reads the SOURCE mix before the con-trols, giving you the real facts at all times, evenif you’re not listening at all.

When the solo MODE switch is set to LEVELSET (PFL) (down) , all soloed signals will besent to the left meter only. That, combinedwith LEVEL SET LED , are along the path ofenlightenment known as the Level-SettingProcedure . During NORMAL (AFL) mode,the meters will behave normally.

Meters vs. RealityYou may already be an

expert at the world of “+4”(+4dBu=1.23V) and “–10”(–10dBV=0.32V) operating

levels. Basically, what makes a mixer one orthe other is the relative 0dB VU (or 0VU) cho-sen for the meter display. A “+4” mixer, with a+4dBu signal pouring out the back will actu-ally read 0VU on its meter display. A “–10”mixer, with a –10dBV signal trickling out, willread, you guessed it, 0VU on its meter display.So when is 0VU actually 0dBu? Right now!

At the risk of creating another standard,Mackie’s compact mixers address the need ofboth crowds by calling things as they are: 0dBu(0.775V) at the output shows as 0VU on themeter display. What could be easier? By theway, the most wonderful thing about standardsis that there are so many to choose from.

Thanks to the 1642-VLZ PRO’s wide dy-namic range, you can get a good mix withpeaks flashing anywhere between –20 and+10dB on the meter display. Most amplifiersclip at about +10dB, and some recorders aren’tso forgiving either. For best real-world results,try to keep your peaks between “0” and “+7.”

Please remember: Audio meter displays arejust tools to help assure you that your levelsare “in the ballpark.” You don’t have to stare atthem (unless you want to).

AUX DISCUSSIONFirst of all, there is no particular alliance

between AUX SEND 1 and AUX RETURN 1.They’re just numbers. They’re like two com-plete strangers, both named Fred.

Sends are outputs, returns are inputs. TheAUX knob taps the signal off the channeland sends it to the AUX SEND outputs .AUX 1 and 2 are sent to the AUX SENDS 1and 2 master knobs before the AUX SENDoutputs and AUX 3 through 6 are sent directly.

These outputs are fed to the inputs of a re-verb or other device. From there, the outputs ofthe external device are fed back to the mixer’sAUX RETURN inputs . Then these signals aresent through the AUX RETURN level controls,and finally delivered to the MAIN MIX .

So, the original “dry” signals come from thechannels to the MAIN MIX and the affected“wet” signals come from the AUX RETURNS tothe MAIN MIX, and once mixed together, thedry and wet signals combine to create a glori-ous sound. Armed with this knowledge, let’svisit the Auxiliary World:

AUX SENDS (MASTER)These knobs provide overall level control of

AUX SENDS 1 and 2, just before they’re deliveredto their AUX SEND outputs . This is perfectfor controlling the level of stage monitors, sinceyou’ll be using AUX 1 and 2 for this, with theirPRE switches engaged . AUXSENDS 3 through 6 have no suchcontrol — they’ll just send theirmixes directly to their respectiveAUX SEND outputs at unity gain.

This knob goes from off (turnedfully down), to unity gain at thecenter detent, with 10dB of extragain (turned fully up). As withsome other level controls, you maynever need the additional gain, butif you ever do, you’ll be glad youbought a Mackie.

This is usually the knob youturn up when the lead singerglares at you, points at his stagemonitor, and sticks his thumb inthe air. (It would follow suit that ifthe singer stuck his thumb down,you’d turn the knob down, butthat never happens.)

U

OO+20

OO+20

U

OO+15

OO+15

STEREO AUX RETURN

EFFECTS TO MONITORS

TO AUXSEND 2

TO AUXSEND 11

2

1

2

3

4C-R / PHNS

ONLYRETURNS

SOLO

MAIN MIXTO SUBS

ASSIGN OPTIONS

1–23–4

U

OO+20

U

OO+20

U

OO+10

U

OO+10

AUX SEND

1

2

PWRPHAN

SOLO

SOLO

1

2

SUBS 1–2

SUBS 3–4

MAIN MIX

CR SOURCE

TAPEOOMAXSOLO

RUDE SOLO LIGHT

LEVELSET

MODE


(PFL)

CONTROL ROOMMAXOO

MAXOO

PHONES

U


OO+20TAPE IN

TAPE TOMAIN MIX

28

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26

AUX SENDS SOLOOnce again, in a live sound situations AUX

SEND 1 and 2 are likely to feed your stagemonitors. You’ll want to check the mix you’resending them, and that’s what these two but-tons are for. (AUX 3 through AUX 6 have nosuch switch.) Beside each switch is a greenLED that, just like the channel’s –20 LED ,helps you find the rogue SOLO switch.

The only thing different about AUX SENDSSOLO is that it’s not really PFL (pre-fader lis-ten), and it’s not really SIP (solo-in-place), it’sactually AFL (after-fader listen, and yes, weknow there’s no fader in this case.) DuringNORMAL (AFL) mode , you’ll get AUXSEND 1’s solo signal, post-AUX SENDS masterlevel, in the left side of the C-R OUTS,PHONES output and meter display, and AUXSEND 2 on the right side. (If you ever use AUX1 and 2 to create a stereo monitor mix, you’llunderstand why.) In LEVEL SET (PFL) mode,you’ll get the signal dead-center, but still post-AUX SENDS master level.

AUX RETURNS (LEVEL)These four controls set the overall level of

effects received from the stereo AUX RETURNinput jacks . These controls are designed tohandle a wide range of signal levels — eachknob goes from off, to unity gain at the detent,to 20dB gain fully clockwise, to compensate for

low-level effects. Signals passingthrough the STEREO AUXRETURN level controls will pro-ceed directly to the MAIN MIXfader , with exceptions thatwe’ll discuss in a moment.

Typically, these knobs canjust live at the center detent,and the effects device’s outputcontrol should be set at what-ever they call unity gain (checktheir manual). If that turns outto be too loud or too quiet, ad-just the effects device’s outputs,not the mixer. That way, themixer’s knobs are easy torelocate at the center detent.

EFFECTS TO MONITORSIf you want to add reverb or delay to the

stage monitor mixes, these are the knobs foryou. Operating independently of their respec-tively numbered AUX RETURNS level controls,these knobs are exactly the same as the AUX 1and AUX 2 knobs found in the channel strip .

These two knobs feed AUX RETURN signalsto their respective AUX SEND outputs : TOAUX SEND 1 feeds AUX RETURN 1 to AUXSEND 1 master, and TO AUX SEND 2 feedsAUX RETURN 2 to AUX SEND 2 master. Theyare off when turned fully down, deliver unitygain at the center detent, and can provide upto 15dB of gain turned fully up. AUX RETURN3 and AUX RETURN 4 have no such knobs.

MAIN MIX TO SUBS (AUX RET 3)With this switch up, AUX RETURN 3

behaves like all the others — it delivers astereo signal, regulated by its level knob, to theMAIN MIX . When you engage this switch,the signals are removed from the MAIN MIXbuses and sent to the 1-2/3-4 switch, which di-verts the signal once more. We’re not finished.Please read on.

1–2/3–4 (AUX RET 3)As you’ve just read, if the MAIN MIX TO

SUBS switch is disengaged, the 1–2/3–4 switchdoes absolutely nothing. Let’s now assume it’sengaged. AUX RETURN 3’s stereo signal will notbe sent to the MAIN MIX, but to subgroup fad-ers 1 and 2 (1–2/3–4 switch up) or subgroupfaders 3 and 4 (switch down).

Let’s say you’ve made a stereo drum submix onsubgroup faders 1 and 2, so you can ride thosetwo faders instead of the seven channels that thedrums came from. Subgroup fader 1 has itsASSIGN TO MAIN MIX, LEFT button engagedand subgroup fader 2 has its ASSIGN TO MAINMIX, RIGHT button engaged, blending the drumsubmix back into the MAIN MIX. The drumchannels are also sending signals to your reverbvia the AUX sends and the reverb outputs arepatched into AUX RETURN 3. So far so good.

Even though you could send AUX RETURN 3directly to the MAIN MIX (MAIN MIX TO SUBSswitch up), you don’t want to. Instead, engagethe MAIN MIX TO SUBS switch and make surethe 1–2/3–4 switch is up. Now the reverb returnwill be blended into the drum submix, and asyou ride those two faders, the reverb level willfollow.

Why do we want that? Because if you hadjust sent the reverb directly to the MAIN MIX

U

OO+20

OO+20

U

OO+15

OO+15

STEREO AUX RETURN

EFFECTS TO MONITORS

TO AUXSEND 2

TO AUXSEND 11

2

1

2

3

4C-R / PHNS

ONLYRETURNS

SOLO

MAIN MIXTO SUBS

ASSIGN OPTIONS

1–23–4

U

OO+20

U

OO+20

U

OO+10

U

OO+10

AUX SEND

1

2

PWRPHAN

SOLO

SOLO

1

2

SUBS 1–2

SUBS 3–4

MAIN MIX

CR SOURCE

TAPEOOMAXSOLO

RUDE SOLO LIGHT

LEVELSET

MODE


(PFL)

CONTROL ROOMMAXOO

MAXOO

PHONES

U


OO+20TAPE IN

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27

(MAIN MIX TO SUBS switch up) and you did adrum fade-out using subgroup faders 1 and 2,the “dry” signals would fade out, but the “wet”signals would keep on singing. All you wouldhear is the drum reverb (the “wet”), and none ofthe original drum signals (the “dry”). That’s be-cause the reverb is being fed by the channel’sAUX sends, and they have no idea that you’vepulled down the subgroup faders. That’s why wethrew in these switches.

C-R/PHNS ONLY (AUX RET 4)Once again, the default for all the STEREO

AUX RETURNS is to feed them directly intothe MAIN MIX. You’ve just learned about theoptional exceptions involving AUX RETURN 3.AUX RETURN 4 also has an optional excep-tion: By engaging the C-R/PHNS switch, youwill remove AUX RETURN 4’s stereo signalfrom the MAIN MIX and send it directly to theCTL ROOM/PHONES SOURCE matrix . Itmatters not if any of the SOURCE matrixswitches are assigned, but it will be inter-rupted, as usual, if a SOLO switch is engaged.

Let’s pretend you’re doing a live mix to a2-track deck, a house PA, or both, and youwant to play along to a click track. You couldrun the click track directly into the MAIN MIX,but you don’t want the mixdown deck and/oraudience to hear it. By gum, this is the switchfor you. Similarly, it can be used for voice-overtracks, narration, anything you want heard bythe engineer and players but not by the audi-ence and mixdown deck.

RETURNS SOLOThis switch operates just like the channel

SOLO switches — engaging it sends signals tothe C-R OUTS, PHONES output and meter dis-play and interrupts whatever happened to bethere before you soloed. It follows the MODEswitch setting as well. The only difference isthat when you engage the RETURNS SOLOswitch, it sends all four STEREO AUX RETURNSsignals to the SOLO circuit.

Assume you want to solo the snare drum.Hit that channel’s SOLO switch, and you getthe “dry” (no effects) snare only. That helps,but you want to hear it with the reverb youhave patched into an AUX RETURN. Leavingthat channel’s SOLO switch engaged, also en-gage the RETURNS SOLO switch, and nowyou’ll get the dry snare and its reverb.

Since it is a global feature, you’ll also getthe signals from all the other AUX RETURNS,so there may be some sounds that you didn’twant to hear. If they offend your sensibilities,simply turn down the levels of the STEREOAUX RETURNS you don’t want to hear, orMUTE the channels feeding the unwanted sig-nal to the effects device you do want to hear.

Congratulations! You’ve just read about allthe features of your 1642-VLZ PRO. You’re prob-ably ready for a nice cup of tea. Go ahead. Therest of the manual can wait.

STEREO AUX RETURN

3

4C-R / PHNS

ONLYRETURNS

SOLO

MAIN MIXTO SUBS

ASSIGN OPTIONS

1–23–4

U

OO+20

U

OO+20

28

1642-VLZ PRO BLOCK DIAGRAM

MAIN L

SUB 3

MAIN R

SUB 2SUB 1

SUB 4

AUX 1AUX 2AUX 3AUX 4

SIP LSIP R

PFLLOGIC

75H

zH

PF

MID

HI

80

100

8K

12K

LOL R 1 2 3 4

SIP

L

SIP

R

PFL

PHA

NTOM

POW

ER(G

LOBA

L S

WIT

CH)

TRIM

MIC

IN

LINE

IN

DIRE

CT O

UT(C

H'S

18

ONL

Y)

INS

ERT LO

W C

UT

–20

(FLI

CKER

)S

OLO

(GLO

W)

OL (F

LICK

ER)

MUT

E (G

LOW

)

EQ

GA

INFR

EQ

FADE

RM

UTE

PAN

AS

SIG

N

PRE

AUX

1

AUX

2

AUX

3

AUX

4

MON

O IN

PUT

CHA

NNEL

(1 O

F 8

)

AUX

RET

URN

1

AUX

RET

URN

2

AUX

RET

URN

4

AUX

RET

URN

3

EFX

TOM

ON

LEVE

L

LEVE

L

LEVE

L

LEVE

LA

SS

IGN

TOC-

R/PH

NSON

LY

MA

IN/S

UBS 1-

2/3-

4

EFX

TOM

ON

SOL

OTO

SOL

O LE

D

SIP

L

SIP

R

PFL

SOL

O

CR/PHN LCR/PHN R

PRE

AUX

1

AUX

2

AUX

3

AUX

4

SOL

ORE

LAY

AS

SIG

NTO

MIX

L R 1 2 3 4

SIP

L

SIP

R

PFL

AS

SIG

N

SOL

OTO

SOL

O LE

D

MA

IN M

IX

MA

IN IN

SER

T

MA

IN M

IXFA

DER

MA

IN M

IX M

ONO

OUT

1

TAPE

OUT

MA

IN M

IX R

IGH

T OU

T

MET

ERS

(0VU

= 0

dBu)

TAPE

IN

L R

TAPE

LEV

EL

C-R/

PHON

ESS

OURC

EM

AIN

TAPE

12

RUDE

SOL

O LE

D

C-R/

PHON

ES M

IX

C-R

LEVE

L

CONT

ROL

ROOM

OUT

L R

PHON

ES O

UT A

SIP

/PFL

SOL

O LE

VEL

SOL

O M

IX

SUB

1 M

IX

FADE

R

FADE

R

AS

SIG

N TO

MA

IN M

IX

L R

SUB

1 OU

T

(SUB

MIX

3/7

IDEN

TICA

L)

SUB

2 M

IX

AS

SIG

N TO

MA

IN M

IX

L R

SUB

2 O

UT

(SUB

MIX

4/8

IDEN

TICA

L)

AUX

MIX

LEVE

LA

UX S

END

1(A

UX S

END

2 ID

ENTI

CAL)

AUX

SEN

D 3

BUS

TO

WOO

DINV

ILLE

(AUX

SEN

D 4

IDEN

TICA

L)

PHON

ES O

UT B

SOL

O

34

(FRO

M S

UB 3

OUT

)

(FRO

M S

UB 4

OUT

)

22 10 7 4 2 0 2 4 7 10 20 30

LEVE

L S

ET(P

FL) L

ED

MON

O LE

VEL

STE

REO

INPU

T CH

ANN

EL (1

OF

4)

LINE

IN L

LINE

IN R

STE

REO

TRIM

(Chs

13/14

& 15

/16 o

nly)

MIC

IN(C

hs 9

/10 &

11/12

onl

y)

FADE

RM

UTE

PAN

4-BA

ND S

TERE

O EQ

MID

HI

80

80

012

K

LO

MID

HI

80

80

0

MID

3K MID

3K12

K

LO

–20

(FLI

CKER

)S

OLO

(GLO

W)

OL (F

LICK

ER)

MUT

E (G

LOW

)

MIC

TRI

M

SUB

5 O

UT

SUB

6 O

UT

PHON

ESLE

VEL

L R

2 3

1

2 3

MA

IN M

IX L

EFT

OUT

+4/–

10dB

PA

D(X

LR o

nly)

1/4" B

AL

XLR

BAL

XLR

BAL

1/4" B

AL

75H

zH

PF

LOW

CUT

MAC

KIE

DESI

GNS

1642

-VLZ

PRO

BLOC

K DI

AGRA

M(#

7069

9CJM

/DF)

2 3

1

2 3

1

L R L R L R L R

MA

CKIE

EXPR

ESS

29

GAIN STRUCTURE DIAGRAM

+22d

Bu m

ax in

15dB

loss

, TRI

M d

own

45dB

gai

n, T

RIM

up

LINE

IN, a

ll ch

anne

ls

MIC

IN, a

ll ch

anne

ls

60

dB g

ain,

TRI

M u

p

0dB

gai

n, T

RIM

dow

n

+22d

Bu m

ax in

+15d

B up

–15d

Bdo

wn–1

5dB

down

–15d

Bdo

wn

LOW

+15d

B up

MID

+15d

b up

HIG

H+1

0dB

up

FADE

RPA

N

–4dB

cen

ter

EQM

IX

0dB

1/4"

Unb

al O

utan

d RC

A T

ape

Out

+6dB

(1/4

" bal

, Mai

n M

ix on

ly)

OUTP

UTS

CHA

NNEL

MA

IN M

IX &

SUB

MA

STE

RS

to ‘A

’ ‘A’

to ‘A

’

to ‘D

’

(fro

m M

ain

Mix,

Sub

s an

d Ta

pe In

)

0dB

0dB

‘D’

+10

dB u

p

OUTP

UT

0dB

SOU

RCE

Mat

rixM

IXLE

VEL

CONT

ROL

ROOM

/ PH

ONES

‘C’

‘B’

0dB

From

‘B’

+10

dB u

p

Chan

nel S

END

AUX

MIX

AUX

1 &

2 M

aste

r

0dB

OUTP

UT

AUX

SEN

D

INPU

T

+20

dB u

p

to ‘C

’0

dB

LEVE

L

AUX

RET

URN

+22d

Bu m

ax o

ut (1

/4" u

nbal

& R

CA)

+28

dBu

max

out

(1/4

" bal

, Mai

n M

ix on

ly)

+22d

Bu m

ax o

ut+2

2dBu

max

in

+22d

Bu m

ax o

ut

to ‘C

’

FADE

R

+10

dB u

p

(Inse

rtS

end)

(Inse

rtRe

turn

)In

sert

poi

nt(M

ain

Mix

only

)

–6dB

0dB

0dB

+15d

B up

+20

db u

p

TAPE

IN

0dB

LEVE

Lto

‘D’

+15d

b up

SOL

O

0dB

LEVE

Lto

‘D’

MA

CKIE

1642

-VLZ

PRO

LEVE

L DI

AG

RAM

30

SPECIFICATIONSMain Mix Noise20Hz–20kHz bandwidth, 1⁄4" Main Out, channel Trims @unity gain, channel EQs flat, all channels assigned to Main Mix,odd channels panned left, even channels panned right

Main Mix fader unity, channel faders down: –86.5dBu(90dB Signal to Noise Ratio, ref +4dBu)Main Mix fader @ unity, channel faders @ unity: –84.0dBu

Total Harmonic Distortion (THD)1kHz @ +14dBu: 20Hz–20kHzMic in to Insert out: below 0.0007%

Attenuation (Crosstalk)1kHz relative to 0dBu, 20Hz–20kHz bandwidth,Line in, 1⁄4" Main Out, Trim @ unity

Channel Mute switch engaged: –84dBuChannel Gain knob down: –84dBu

Frequency ResponseMic input to any output

20Hz to 60kHz: +0dB/–1dB20Hz to 100kHz: +0dB/–3dB

Equivalent Input Noise (EIN)Mic in to Insert Send out, max gain

150 ohm termination: –129.5dBm unweighted

Common Mode Rejection (CMR)Mic in to Insert Send out, max gain

1kHz: better than 90dB

Maximum LevelsMic in: +22dBuAll other inputs: +22dBuMain Mix 1⁄4" TRS and XLR outputs: +28dBuAll other outputs: +22dBu

ImpedancesMic in: 1.3 kilohmsChannel Insert return: 2.5 kilohmsAll other inputs: 10 kilohms or greaterTape out: 1.1 kilohmsAll other outputs: 120 ohms

3 band EQ (Channels 1 - 8)High Shelving: ±15db @ 12kHzMid Peaking: ±15dB, sweep 100Hz–8kHzLow Shelving: ±15db @ 80HzLow Cut Filter: 18dB/octave, –3dB @ 75Hz

4-band EQ (Channels 9 - 16)High Shelving: ±15db @ 12kHzHi Mid Shelving: ±15dB, 3kHzLo Mid Shelving: ±15dB, 800HzLow Shelving: ±15db @ 80HzLow Cut Filter (Ch9-12): 18dB/octave, –3dB @ 75Hz

Power Consumption120VA.C., 50/60Hz, 40 watts

Fuse Ratings120V: 1A Slo Blo, 5 x 20mm220–240V: 0.5A Slo Blo, 5 x 20mm

Weight18.2 lbs. (8.3kg)

Rack mountingOptional rack ears are available which will allow the1642-VLZ PRO to be mounted in a standard 19" rack.Allow ten rack spaces for the unit, and allow two emptyrack spaces on top (for room to plug anything in).

17.2

8"

(43

9 m

m)

5.45" (138mm)

16.63" (422mm)

1642-VLZ PROWEIGHT 18.2 lbs.(8.3 kg)

31

SERVICE INFODetails concerning Warranty Service are

spelled out on the Warranty Card included withyour mixer (if it’s missing, let us know and we’llrush one to you).

If you think your 1642-VLZ PRO has a prob-lem, please do everything you can to confirm itbefore calling for service. Doing so might saveyou from being deprived of your mixer.

Of all Mackie products returned for service(which is hardly any at all), roughly 50% arecoded “CND” — Could Not Duplicate, which usu-ally means the problem lies somewhere other thanthe mixer. These may sound obvious to you, buthere’s some things you can check:

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 jacks.• Try the same source signal in another channel,

set up exactly like the suspect channel.

Bad Output• Is the associated level control (if any) turned up?• If you’re listening to the C-R OUTS or

PHONES outputs, has a SOURCE selectionbeen made?

• If it’s one of the MAIN OUTS, try unplugging itscompanion. For example, if it’s the 1/4" LEFTMAIN OUT, unplug the RCA output. If theproblem goes away, it’s not the mixer.

• If it’s a stereo pair, try switching themaround. For example, if a left output ispresumed dead, switch the left and rightcords, at the mixer end. If the problem stayson the left, it’s not the mixer.

• Unplug everthing from the MAIN INSERTS.

Noise• Turn the channel faders and AUX RETURN

knobs down, one by one. If the sound disappears,it’s either that channel or whatever is pluggedinto it, so unplug whatever that is. If the noisedisappears, it’s from your whatever.

PowerOur favorite question: Is the POWER switch on?Check the fuse .

REPAIRService for the U.S. version of the 1642-VLZ PRO

is only available from Mackie Designs, located insunny Woodinville, Washington. (Service for mixers liv-ing outside the United States can be obtainedthrough local dealers or distributors.) If your mixerneeds service, follow these instructions:1. Review the preceding troubleshooting

suggestions. Please.2. Call Tech Support at 1-800-258-6883, 8am to

5pm PST, to explain the problem and requestan R.A. number. Have your mixer’s serialnumber ready. You must have a ReturnAuthorization number, or we may refusethe delivery.

3. Set aside the power cord, owner’s manual,or anything else that you’ll ever want to seeagain. We are responsible for the return ofthe mixer only.

4. Pack the mixer in its original package,including endcaps and box. This is VERYIMPORTANT. When you call for the RAnumber, please let Tech Support know ifyou need a new box. Mackie is not respon-sible for any damage that occurs due tonon-factory packaging.

5. Include a legible note stating your name,shipping address (no P.O. boxes), daytimephone number, R.A. number and a detaileddescription of the problem, including how wecan duplicate it.

6. Write the R.A. number in BIG PRINT ontop of the box.

7. Ship the mixer to us. We suggest insurancefor all forms of cartage. Ship to this address:

Mackie Designs Inc.SERVICE DEPARTMENT16220 Wood-Red Rd. NEWoodinville, WA 98072

8. We’ll try to fix the mixer within five businessdays. Ask Tech Support for current turn-aroundtimes when you call for your RA number. Wenormally send everything back prepaid usingthree-day shipping. However, if you rush yourmixer to us by next-day air, we’ll treat it in kindby shipping it back in the same way in which itwas received. This paragraph does notnecessarily apply to non-warranty service.

32

APPENDIX A: CONNECTIONS

“XLR” CONNECTORSMackie mixers use 3-pin female “XLR”

connectors on all microphone inputs, withpin 1 wired to the grounded (earthed) shield,pin 2 wired to the “high” (”hot” or positive po-larity) side of the audio signal and pin 3wired to the “low” (“cold” or negative polar-ity) side of the signal (Figure A). All totallyaboveboard and in full accord with the hal-lowed standards dictated by the AES (AudioEngineering Society).

Use a male “XLR”-type connector, usuallyfound on the nether end of what is called a“mic cable,” to connect to a female XLR jack.

2

2

3 1

1

SHIELD

COLD

HOT

SHIELD

COLD

HOT

3

SHIELD

COLDHOT

3

2

1

SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING

Figure B: 1⁄4" TRS Plugs

Figure A: XLR Connectors

1⁄4" TRS PHONE PLUGS AND JACKS“TRS” stands for Tip-Ring-Sleeve, the three

connections available on a “stereo” 1⁄4" or“balanced” phone jack or plug. See Figure B.TRS jacks and plugs are used in severaldifferent applications:• Stereo Headphones, and rarely, stereo

microphones and stereo line connections.When wired for stereo, a 1⁄4" TRS jack orplug is connected tip to left, ring to right and

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

Figure C: TS Plug

sleeve to ground (earth). Mackie mixers donot directly accept 1-plug-type stereomicrophones. They must be separated into aleft cord and a right cord, which are pluggedinto the two mic preamps.You can cook up your own adapter for astereo microphone adapter. “Y” two cablesout of a female 1⁄4" TRS jack to two maleXLR plugs, one for the Right signal and onefor the Left.

• Balanced mono circuits. When wired as abalanced connector, a 1⁄4" TRS jack or plugis connected tip to signal high (hot), ringto signal low (cold), and sleeve to ground(earth).

• Unbalanced Send/Return circuits. Whenwired as send/return “Y” connector, a 1⁄4"TRS jack or plug is connected tip to signalsend (output from mixer), ring to signalreturn (input back into mixer), and sleeveto ground (earth).

1⁄4" TS PHONE PLUGS AND JACKS“TS” stands for Tip-Sleeve, the two connec-

tions available on a “mono” 1⁄4" phone jack orplug (Figure C). TS jacks and plugs are usedin many different applications, always unbal-anced. The tip is connected to the audio signaland the sleeve to ground (earth). Some ex-amples:• Unbalanced microphones• Electric guitars and electronic instruments• Unbalanced line-level connections

33

(cold) and the ground (earth) connections ofthe balanced input. If there are ground-loopproblems, try connecting the unbalancedground (earth) connection only to the inputlow (cold) connection, and leaving the inputground (earth) connection disconnected.In some cases, you will have to make up special

adapters to interconnect your equipment. For ex-ample, you may need a balanced XLR femaleconnected to an unbalanced 1⁄4" TS phone plug.

SPECIAL MACKIE CONNECTIONSThe balanced-to-unbalanced connection has

been anticipated in the wiring of Mackie jacks.A 1⁄4" TS plug inserted into a 1⁄4" TRS balancedinput, for example, will automatically unbalancethe 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 JacksMackie’s single-jack inserts are the three-

conductor, TRS-type 1⁄4" phone. They areunbalanced, but have both the mixer output(send) and the mixer input (return) signals inone connector (See Figure E).

The sleeve is the common ground (earth) forboth signals. The send from the mixer to theexternal unit is carried on the tip, and the returnfrom the unit to the mixer is on the ring.

SWITCHED 1⁄4" PHONE JACKSSwitches can be incorporated into 1⁄4" phone

jacks, which are activated by inserting the plug.These switches may open an insert loop in acircuit, change the input routing of the signal orserve other functions. Mackie uses switches in thechannel insert and bus insert jacks, input jacksand AUX returns. We also use these switches toground the line-level inputs when nothing isplugged into them.

In most cases, the plug must be insertedfully to activate the switch. Mackie takesadvantage of this in some circuits, specifyingcircumstances where you are to insert the plugonly partially. See Special MackieConnections, later in this section.

RCA PLUGS AND JACKSRCA-type plugs (also known as phono

plugs) and jacks are often used in home stereoand video equipment and in many other appli-cations (Figure D). They are unbalanced andelectrically identical to a 1⁄4" TS phone plug orjack (See Figure C). Connect the signal to thecenter post and the ground (earth) or shieldto the surrounding “basket.”

“tip”


tipring

sleeve

SEND to processor


(TRS plug)

Figure E: Insert Plug

TIPSLEEVETIPSLEEVE

Figure D: RCA Plug

UNBALANCING A LINEIn most studio, stage and sound reinforcement

situations, there is a combination of balanced andunbalanced inputs and outputs on the variouspieces of equipment. This usually will not be aproblem in making connections.• 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 atthe unbalanced input. In most cases, thebalanced ground (earth) will also beconnected to the ground (earth) at theunbalanced input. If there are ground-loopproblems, this connection may be leftdisconnected at the balanced end.

• When connecting an unbalanced output toa balanced input, be sure that the signalhigh (hot) connections are wired to eachother. The unbalanced ground (earth)connection should be wired to the low

34

Using the Send Only on an Insert JackIf you insert a TS (mono) 1⁄4" plug only partially

(to the first click) into a Mackie insert jack, theplug will not activate the jack switch and will notopen the insert loop in the circuit (thereby allow-ing the channel signal to continue on its merryway through the mixer).

This allows you to tap out the channel orbus signal at that point in the circuit withoutinterrupting normal operation.

If you push the 1⁄4" TS plug in to the secondclick, you will open the jack switch and createa direct out, which does interrupt the signal inthat channel. See Figure F.

NOTE: Do not over-load or short-circuit thesignal you are tappingfrom the mixer. That willaffect the internal signal.

MACKIE STEREO INPUTS AND RETURNS:Mono, Stereo, Whatever

Stereo line inputs and stereo AUX returnsare a fine example of the Mackie philosophy(which we just made up) of Maximum Flex-ibility with Minimum Headache. The inputsand returns will automatically be mono or ste-reo, depending upon how you use the jacks.Here’s how it works:

A mono signal should be patched into theinput or return jack labeled Left (MONO). Thesignal will be routed to both the left and rightsides of the return circuit, and will show up inthe center of the stereo pair of buses it’s as-signed to, or it can be “panned” with theBalance control.

A stereo signal, having two plugs, should bepatched into the LEFT (MONO) and theRIGHT input or return jacks. A jack switch inthe RIGHT jack will disable the mono func-tion, and the signals will show up in stereo.

A mono signal connected to the RIGHT jackwill show up in the right bus only. You probablywill only want to use this sophisticated effectfor special occasions (weddings, bar mitzvahs,Rush Limbaugh’s birthday party, etc.)

Figure F

Direct out with no signal interruption.Insert only to first “click.”

Channel Insert jack

Channel Insert jack

Channel Insert jack

Direct out with signal interruption.Insert all the way in to the second “click.”

For use as an effects loop.(TIP = SEND to effect, RING = RETURN from effect.)

MONO PLUG

MONO PLUG

STEREO PLUG

35

TIP (SEND)

RING (IN)

TIP (OUT)

RING (RETURN)

TO MIXERCHANNEL INSERT

RING (RETURN)

TIP (SEND)

TO PROCESSOR

INPUT

FROM PROCESSOR

OUTPUT

Y-cord insert cable

Y-cord splitter cable

MULTS AND “Y”sA mult or “Y” connector allows you to route

one output to two or more inputs by simplyproviding parallel wiring connections. You canmake “Y”s and mults for the outputs of bothunbalanced and balanced circuits.

Remember: Only multor “Y” an output into sev-eral inputs. If you needto combine several out-puts into one input, you

must use a mixer, not a mult or a “Y.”

Session:

NOTES:

Date:

1642-VLZPRO

1MUTE

2 3MUTEMUTE

4MUTE

5MUTE

6MUTE

7MUTE

8MUTE

TRACK

6TRACK

5TRACK

4TRACK

3TRACK

2TRACK

1REC

2REC

1

TRIM1

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

2

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

3

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

4

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

5

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

6

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

7

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV TRIM

8

LOW CUT75 Hz

18dB/OCT

+15dB -45dB

U

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

FREQ

800

2k200

8k100

MID

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN-10dBV

U

OO+20

OO+20

U

OO+15

OO+15

STEREO AUX RETURN

EFFECTS TO MONITORS

TO AUXSEND 2

TO AUXSEND 11

2

1

2

3

4C-R / PHNS

ONLYRETURNS

SOLO

MAIN MIXTO SUBS

ASSIGN OPTIONS

1–23–4

U

OO+20

U

OO+20

U

OO+10

U

OO+10

AUX SEND

1

2

PWRPHAN

SOLO

SOLO

1

2

2

3

TRIM1516

U

OO+15U

O

U

+15

U

OO+15

AUX

PRE

U

+20-20

1

TRIM1314

OO

U

+15

AUX

U

+20-20

2

3

4

1

4

U

+15-15

EQ

U

OO+15U

OO+15

U

OO+15PRE

U

+15-15

EQ

12kHI

12kHI

OO+15

O

PAN PAN

HIMID3K

LOWMID

800Hz

80HzLOW

LOWMID

800Hz

80HzLOW

L R

U

+15-15

L R

+15-15U

+15-15

U

+15-15U

+15-15

LOWMID

800Hz

U

+15-15

LOWMID

800Hz

U

+15-15

EQ

U

+15-15

HIMID3K

SUBS 1–2

SUBS 3–4

MAIN MIX

CR SOURCE

TAPEOOMAXSOLO

RUDE SOLO LIGHT

15

26

37

48

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

LEVELSET

MODE


(PFL)

RIGHT

dB

30

20

10

OO

4050

5

5

U

60

10

dB

30

20

10

OO

4050

5

5

U

60

10

TRACK

8EFX

AEFX

B

MAINMIX

CONTROL ROOMMAXOO

MAXOO

PHONES

U


OO+20TAPE IN

TAPE TOMAIN MIX

28

10

7

4

2

0

2

4

7

10

20

30

U U

9-10MUTE

11-12MUTE

13-14MUTE

15-16MUTE

TRACK

7

U

Q

TRIM910

LOW CUT75 Hz

18dB/OCT

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN

TRIM1112

LOW CUT75 Hz

18dB/OCT

U

OO+15

OO

U

+15

U

OO+15

AUX

1

PRE

U

+15-15

HIMID3K

PAN

L R

U

+15-15

80HzLOW

0 60

2

3

U

+15-15

EQ

U

OO+15

4

12kHI

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

MIC GAIN

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

dB

30

20

10

OO

4050

5

5

U

60

10

SOLO

1-2

3-4

L/R

OL

-20

38

COLOPHON(Roll credits please) Manual written by Jeff

Gilbert, based on a musical by Ron Koliha, withtidbits borrowed from almost everywhere. Manualthen defaced with proofreading pens in the handsof Mackie’s legendary Tech Support staff. Manualcomposed on a rinky-dink PC using a low-budgetword processor, then converted to this amazingpiece of work using a 13-story 1000 gigawhopperMacintosh operated by Mackie’s notorious Adver-tising staff. Please, feel free to let us know if youfind an error or stumble over a confusing para-graph. Thank you for reading the entire manual(we know you have, or you wouldn’t be here).

Mackie Designs is always striving to improve ourmixers by incorporating new and improved materi-als, components and manufacturing methods.Because we’re always trying to make things better,we reserve the right to change these specificationsat any time, without notice.

Mackie, the "Running Man" figure, VLZ and XDR are trademarks or registered trademarks of Mackie Designs Inc. All other brandnames mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged.

©2003 Mackie Designs Inc.All Rights Reserved.

39

1642-VLZ PRO LIMITED WARRANTY

3. Make sure that the problem can be dupli-cated. If you bring your product to an AuthorizedService Center and they can’t find anythingwrong with it, you may be charged a service fee.4. If the Mackie Authorized Service Center islocated in another city, pack the product in itsoriginal shipping carton. More information onpacking can be found in the Service section ofthis manual.5. Contact the Mackie Authorized Service Centerto arrange service or bring the product to them.

F. Mackie and Mackie Authorized Service Centersreserve the right to inspect any products that maybe the subject of any warranty claims before repairor replacement is carried out. Mackie and MackieAuthorized Service Centers may, at their option, re-quire proof of the original date of purchase in theform of a dated copy of the original dealer’s invoiceor sales receipt. Final determination of warranty cov-erage lies solely with Mackie Designs Inc. or itsAuthorized Service Centers.G. Any Mackie product deemed eligible for repair orreplacement under the terms of this warranty will berepaired or replaced within thirty days of receipt byMackie. Mackie may use refurbished parts for repairor replacement of any product. Products returned toMackie that do not meet the terms of this Warrantywill be repaired and returned C.O.D. with billing forlabor, materials, return freight, and insurance. Prod-ucts repaired under warranty at Mackie’s factory willbe returned freight prepaid by Mackie to any locationwithin the boundaries of the USA.H. Mackie warrants all repairs performed for 90 daysor for the remainder of the original warranty period.Mackie assumes no responsibility for the quality ortimeliness of repairs performed by Mackie AuthorizedService Centers.I. This warranty is extended to the original purchaserand to anyone who may subsequently purchase thisproduct within the applicable warranty period.J. This is your sole warranty. Mackie does not authorizeany third party, including any dealer or sales represen-tative, to assume any liability on behalf of MackieDesigns or to make any warranty for Mackie Designs.K. THE WARRANTY GIVEN ON THIS PAGE ISTHE SOLE WARRANTY GIVEN BY MACKIE ANDIS IN LIEU OF ALL OTHER WARRANTIES,EXPRESS AND IMPLIED, INCLUDING THEWARRANTIES OF MERCHANTABILITY ANDFITNESS FOR A PARTICULAR PURPOSE. THEWARRANTY GIVEN ON THIS PAGE SHALL BESTRICTLY LIMITED IN DURATION TO ONEYEAR FROM THE DATE OF ORIGINAL PUR-CHASE FROM AN AUTHORIZED MACKIEDEALER. UPON EXPIRATION OF THE APPLI-CABLE WARRANTY PERIOD, MACKIE SHALLHAVE NO FURTHER WARRANTY OBLIGATIONOF ANY KIND. MACKIE SHALL NOT BE LIABLEFOR ANY INCIDENTAL, SPECIAL, OR CONSE-QUENTIAL DAMAGES THAT MAY RESULTFROM ANY DEFECT IN THE MACKIE PROD-UCT OR ANY WARRANTY CLAIM. Some statesdo not allow exclusion or limitation of incidental,special, or consequential damages or a limitationon how long warranties last, so some of the abovelimitations and exclusions may not apply to you.This warranty provides specific legal rights and youmay have other rights which vary from state to state.

Please keep your sales receipt in a safe place.

A. Mackie warrants all materials, workmanship andproper operation of this product for a period of threeyears from the original date of purchase. If any de-fects are found in the materials or workmanship or ifthe product fails to function properly during the ap-plicable warranty period, Mackie, at its option, willrepair or replace the product. Labor for replacing allpotentiometers and switches is covered for the firstyear, after which it is excluded from warranty cover-age and may be billed to you. This warranty appliesonly to equipment sold and delivered within theU.S. by Mackie or its authorized dealers.B. Failure to register online or return the productregistration card will not void the 3-year warranty.C. Service and repairs of Mackie products are to beperformed only at the factory (see D below) OR at anAuthorized Mackie Service Center (see E below).Unauthorized service, repairs, or modification willvoid this warranty.D. To obtain factory service:

1. Call Mackie at 800/258-6883, 8AM to 5PMMonday through Friday (Pacific Time) to get aReturn Authorization (RA). Products returnedwithout an RA number will be refused.2. Pack the product in its original shipping car-ton. If you do not have the carton, just ask forone when you get your RA number, and we’llsend a shipping carton out promptly. More infor-mation on packing can be found in the Servicesection of this manual. Do not use “packing pea-nuts,” shredded newspapers, or other materialwith small particles, old underwear, or socks.Please seal the Mackie product in a plastic bag.3. Also include a note explaining exactly how toduplicate the problem, a copy of the sales receiptwith price and date showing, and your returnstreet address (no P.O. boxes or route numbers,please!). If we cannot duplicate the problem atthe Mackie Factory or establish the starting dateof your Limited Warranty, we may, at our option,charge for service time.4. Ship the product in its original shipping car-ton, freight prepaid to:

Mackie DesignsService Department

16220 Wood-Red Rd. NEWoodinville, WA 98072 USA

IMPORTANT: Make sure that the RA number isplainly written on the shipping carton.E. To obtain service from an Authorized Mackie Ser-vice Center:

1. Call Mackie at 800/258-6883, 8AM to 5PMMonday through Friday (Pacific Time) to get:1) The name and address of your nearest MackieAuthorized Service Center and 2) A return au-thorization (RA). You must have an RA numberbefore taking your unit to a service center.2. Make sure that you have a copy of yourproduct’s sales receipt from the store where youbought the product. It is necessary to establishpurchase date and thus determine whether ornot your product is still under warranty. If youcan’t find it, the Authorized Service Center maycharge you for repairs even if your product is stillcovered by Mackie’s 3-Year Limited Warranty.

Mackie Designs Inc.16220 Wood-Red Road NE • Woodinville, WA 98071 • USA

US and Canada: 800.898.3211

Europe, Asia, Central and South America: 425.487.4333

Middle East and Africa: 31.20.654.4000

Fax: 425.487.4337 • www.mackie.com

E-mail: [email protected]

1642-VLZ PRO 16-Channel Mic/Line Mixer Owner's Manual 1642VLZPRO... · 1642-vlz pro 16-channel...

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Transcript of 1642-VLZ PRO 16-Channel Mic/Line Mixer Owner's Manual 1642VLZPRO... · 1642-vlz pro 16-channel...