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Mackie 1604-VLZ PRO User's Manual
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1. 98990900900 Whenever a specific 1604 VLZ compo nent is mentioned it ll be in all capital letters sans serif type That can help you find refer ences to specific controls much faster without slowing you down as you read normally For ex ample The quick brown fader jumped over the RUDE SOLO LIGHT Throughout these chapters you ll find illus trations with each feature numbered If you re curious about a feature simply locate it on the appropriate illustration note the number at tached to it and find that number in the nearby paragraphs or refer to the table of contents Yo
2. 0 0 00 pr D e D C SERVICE INFO Details concerning Warranty Service are spelled out on the Warranty Card included with your mixer if it s missing let us know and we ll rush one to you If you think your 1604 VLZ PRO has a problem please do everything you can to confirm it before call ing for service Doing so might save you from being deprived of your mixer Of all Mackie products returned for service which is hardly any at all roughly 50 are coded CND Could Not Duplicate which usu ally means the problem lies somewhere other than the mixer These may sound obvious to you but here s some things you can check TROUBLESHOOTING Bad Channel Are the channels assigned to the correct mix 1 2 3 4 L R e Is the fader up e Try unplugging any insert devices from the INSERT jacks e Try the same source signal in another channel set up exactly like the suspect channel Bad Output e stheassociated level control turned up e Ifyoure listening to the C R OUTS or PHONES outputs has a SOURCE selection been made e fitsone of the MAIN OUTS try unplugging its companion For example if it s the 4 LEFT MAIN OUT unplug the RCA output Ifthe problem goes away it s not the mixer e
3. 15 MONO 1 15 POWER 15 32151 15 POWER 16 POWER 1 16 PHANTOM SWITCH 4 16 PHANTOM 1 16 BNC LAMP 0 16 CHANNEL STRIP DESCRIPTION 17 KD U LIKE UNITY 17 C FADER 17 ASSIGN 1 2 3 4 1 17 42 5010 18 19 20 SOLO 1 18 D OL MUTE LED nennen 18 MUTE PR 19 19 3 3 BAND MID SWEEP 19 CY LOW 20 40 1 20 G PRE 21 6 5 6 21 OUTPUT SECTION DESCRIPTION 22 QD MAIN MIX FADER 22 D VLZ MIX ARCHITECTURE 22 QD SUB 22 ASSIGN TO MAIN 22 QD TAPE IN LEVEL 23 TO MAIN
4. 23 3 23 CTL ROOM 23 2 MODE NORMAL LEVEL SET PFL 24 LEVEL 1 24 SOLO 24 T RUDE SOLO LIGHT 24 67011111 RR 25 9 4 25 D AUX SEND 25 AUX SENDS SOLO 26 D AUX RETURNS LEVEL 26 D EFFECTS TO MONITOR 26 D MAIN MIX TO SUBS AUX RET 3 26 D 1 2 3 4 AUX RET 3 26 D CR PHNS ONLY AUX RET 4 27 RETURNS 010 27 D 27 D 1604 VLZ PRO BLOCK DIAGRAM 28 6 GAIN STRUCTURE 1 29 6 SPECIFICATIONS nnn 30 SERVICE INFO eerte 31 APPENDIX A 5 32 TRACK SHEET 36 COLOPHON 38 1604 VLZ PRO LIMITED WARRANTY 39 HOOKUP DIAGRAMS 00000 333 00000 _ 4086244105 024246 000000009 BSS p
5. c n000 q o 19 0 462 6mm c 17 3 442 0mm 8 7 221 0mm 9 3 256 2mm 1604 VLZ PRO with pod to back gt oof 70 0000000000000000000 o 9 c mee dc LEO Pech S WO H 9 Kyo es ee ee ee S m 0 o EEEIEE EE EEIE 12707 7 n with optional rotopod 6 0 152 4mm 6 6 167 6mm E e 00000 a 000000 0000000000 on o 9 rq 09 909 IX LI I m yx KO S
6. NORMAL AFL W LEVEL TAPE TAPE TO MAIN MIX SUBS 1 2 SUBS 3 4 SOLO MAIN MIX CTL ROOM just the effects device s outputs not the mixer That way the mixer s knobs are easy to relocate at the center detent D EFFECTS TO MONITORS If you want to add reverb or delay to the stage monitor mixes these are the knobs for you Operating independently of their respec tively numbered AUX RETURNS level controls these knobs are exactly the same as the AUX 1 and AUX 2 knobs found in the channel strip These two knobs feed AUX RETURN signals to their respective AUX SEND outputs TO AUX SEND 1 feeds AUX RETURN 1 to AUX SEND 1 master and TO AUX SEND 2 feeds AUX RETURN 2 to AUX SEND 2 master They are off when turned fully down deliver unity gain at the center detent and can provide up to 15dB of gain turned fully up AUX RETURN 3 and AUX RETURN 4 have no such knobs 0 MAIN MIX TO SUBS AUX RET 3 With this switch up AUX RETURN 3 behaves like all the others it delivers a stereo signal regulated by its level knob to the MAIN When you engage this switch the signals are removed from the MAIN MIX buses and sent to the 1 2 3 4 switch which di verts the signal once more We re not finished Please read on 8 1 2 3 4 AUX RET 3 As you ve just read if the MAIN MIX TO 5085 switch is disengaged 1 2 3 4 switch does absolutely nothing Let s now assume it s engaged AUX RET
7. 1010 193410 Savas xnv SUE 5 TANNVHO NI 110 waewnnva 110 1009 9 110 815 S3NOHd 1 i i E J84S A m Jaydy 4904 091946 5 p 9 9 19 a N x zu 9 8000 E u 222241 9po 49u24MG e qno CONVERTING TO RACKMOUNT MODE Not only is the new 1604 VLZ PRO a compact optional accessory called the ROTOPOD professional quality tabletop mixer it s rack VLZ is available and can be used in desktop or mountable Its unique rotating input pod rackmount installations It will put the patchbay makes this possible jacks on the same plane as all the knobs buttons and One of the things that revolutionized the compact faders This is a lifesaver in applications that demand mixer industry was the convertible pod found frequent repatching and costs a heck of a lot less than on the original classic CR 1604 Using an ordi an external patchbay not to mention all the inter nary Phillips screwdriver the mixer could be face and patch cords 6 Please visit your dealer converted
8. 1604 VLZ 16 CHANNEL MIC LINE MIXER OWNER S MANUAL POWER PHANTOM AURA BAUURBAL BREGKBAL 3 z ZR AR 5 ZR 1 Z amp 25 O OIO GO SZ zZ 1 2 L LSE SZ OSS SZ SZ OS ARR AR 6 ZA 2 8 Zo 2 ATTENTION use owned ne nve TYPE WA 2 FS INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT LA 22 LA 22 LAs LA 22 22 22 22 22 22 22 une 14 une 13 une 12 10 9 une 8 une 7 une 6 une 5 une 4 une 3 LINE LA LA 22 22 LA 22 LA 22 LLA 22 P m m gt SZ SZ SZ SZ 27 14 MIC 13 MIC 12 MIC 10 MIC 9 MIC 7 MIC 5 MIC 4 MIC 3 MIC2 MIC 1 Mls VERI Pee Par p EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO DE
9. DESIGN INC 16 CHANNEL STRIP DESCRIPTION The sixteen channel strips look alike and function identically The only difference is that the eight on the left have DIRECT OUT jacks D and the eight on the right don t We ll start at the bottom and work our way up U LIKE UNITY GAIN Mackie mixers have a U symbol on almost every level control This U stands for unity gain meaning no change in signal level Once you have per formed the Level Setting Procedure 6 you can set every control at U and your signals will travel through the mixer at optimal lev els What s more all the labels on our controls are measured in decibels dB so you ll know what you re doing level wise if you choose to change a control s settings You won t have to check it here and check it there as you would with some other mixers fact some don t even have any reference to actual dB levels at all Ever seen those 0 10 fader markings We call these AUMs Arbitrary Units of Measurement and they mean noth ing in the real world You were smart you bought a Mackie FADER The fader is almost the last control in a channels signal path It s placed after the and MUTE controls post EQ post MUTE and before the PAN control pre PAN The U mark about three quarters of the way up indicates unity gain meaning no increase or decrease of signal level All the way up
10. 14dBu 20Hz 20kHz other inputs 10 kilohms or greater Mic in to Main out below 0 0007 out 1 1 kilohms oth 120 Attenuation Crosstalk mo PLUS 1kHz relative to 0dBu 20Hz 20kHz bandwidth EQ Line in Main Out Trim unity High Shelving 1545 19kHz Channel Mute switch engaged 84 Mid Peaking 15dB sweep 100Hz 8kHz Channel Gain knob down 84 Low Shelving 15db 80Hz Low Cut Filter 18dB octave 75Hz Frequency Response Mic input to any output Power Consumption 20Hz to 60kHz 0dB 1dB 120VA C 50 60 Hz 50 watts 20Hz to 100kHz 0dB 3dB e i Fuse Ratings Equivalent Input Noise EIN 120V 1A Slo Blo 5 x 20mm Mic in to Insert Send out max gain 290 940V 0 5A Slo Blo 5 x 20mm 150 ohm termination 129 5dBm unweighted Weight Common Mode Rejection CMR 20 Ibs 9 1kg Mic in to Insert Send out max gain kHz better than 90dB 1604 VLZ PRO with pod normal 5 0 127mm 5 6 142 2mm 9 9 8 9 2 9 5 9 9 9 9 9 9 9 0 9 2 0 oan 3
11. Mono If you want to feed a mono signal to your tape deck or other device simply use the MONO output jack Alternatively use an RCA Y cord to combine the TAPE OUTPUT jacks Radio Shack 274 511 for instance Do not attempt this with any other outputs on the 1604 VLZ PRO TAPE INPUT These unbalanced RCA jacks are designed to work with semipro as well as pro recorders Connect your 2 track tape recorder s outputs here using standard hi fi RCA cables 10 learn how signals are routed from these inputs Use these jacks for convenient playback of your mixes You ll be able to review mix and then rewind and try another pass without repatching or disturbing the mixer levels You can also use these jacks with a portable tape or CD player to feed music to a PA system between sets 6 gt E gt WARNING Pushing TO MAIN MIX in the out put section can create feedback path between TAPE INPUT and TAPE OUTPUT Make sure your tape deck is not in record record pause or input monitor mode when you engage this switch or make sure the TAPE IN level knob is fully counterclockwise off E gt E MAIN INSERT These 1 4 jacks are for connecting serial effects such as compressors equalizers de essers or filters The INSERT point is after the mix amps but before the MAIN MIX fader Insert cables must be wired thusly ang SEND to tip This p
12. m 99 VIEN SUR 1 95 ASSIGN TO MAIN MIX LEFT FT RIGHT RIGHT RIGHT 1 2 3 You ve just learned about the input channels and how the sig nals get in and out The signals come in via MIC and LINE input jacks are manipulated by the channels and then sent to the output section In the output section things get a bit more complicated so put on your thinking caps MAIN MIX FADER This fader controls the lev els of signals sent to the MAIN OUT TRS jacks and TAPE OUTPUT RCA jacks All channels and AUX RETURNs that are assigned to the MAIN MIX not muted and not turned fully down will ap pear at the MAIN OUT Before the main mix gets to this fader the signals pass through the MAIN INSERT The MAIN MIX signals are off with the fader fully down the U marking is unity gain and fully up provides 10dB ad ditional gain This additional gain will typically never be needed but once again it s nice to know it s there The fader itself is a stereo version of the channel and subgroup faders same supersmooth custom taper same dead si lence when turned fully down This is the fader to pull down at the end of the song when you want The Great Fade Out VLZ MIX ARCHITECTURE At Mackie audio quality is much more im portant than the price of wall warts All of our mixers now employ VLZ and built in power supplies that deliver mor
13. 9 2 2 04 4044 Vv 04 1043 dn 4 IAL 380 1 n n dPOC qno ngpzz ui ngpzzt NI JIN d 3318 vane 9 XIN TANNYHO 51104110 eady4 ang ede you pue XIN 4 APO dn YIA X ano XIN 17 1 4no xeu 2 E 491022 91 S XIN 4 43951 449Su RA 04 APO dn dnqpgit 29 SPECIFICATIONS Main Mix Noise Maximum Levels 20Hz 20kHz bandwidth Main Out channel Trims Mic in 429dBu unity gain channel EQs flat all channels assigned to Main Mix other inputs 22dBu odd channels panned left even channels panned right Main Mix TRS outputs 28dBu Main Mix fader unity channel faders down 86 5dBu All other outputs 22dBu 90dB Signal to Noise Ratio ref 4dBu Main Mix fader unity channel faders unity 6400 qe Mic in 1 3 kilohms Total Harmonic Distortion THD Channel Insert return 2 5 kilohms 1kHz
14. Meters vs Reality You may already be an expert at the world of 4 4dBu 1 28V 10 1098 0 82 operating levels Basically what makes a mixer one or the other is the relative 0dB VU or OVU cho sen for the meter display A 4 mixer with a 4dBu signal pouring out the back will actu ally read on its meter display 10 mixer with a 10dBV signal trickling out will read you guessed it on its meter display when is OVU actually 0dBu Right now At the risk of creating another standard Mackie s compact mixers address the need of both crowds by calling things as they are 0dBu 0 775V at the output shows as OVU on the meter display What could be easier By the way the most wonderful thing about standards is that there are so many to choose from Thanks to the 1604 VLZ PRO s wide dy namic range you can get a good mix with peaks flashing anywhere between 20 and 10dB on the meter display Most amplifiers clip at about 10dB and some recorders aren t so forgiving either For best real world results try to keep your peaks between 0 and 7 Please remember Audio meter displays are just tools to help assure you that your levels are the ballpark You don t have to stare at them unless you want to AUX TALK First of all there is no particular alliance between AUX SEND 1 and AUX RETURN 1 Theyre just numbers They re like two com
15. a FADER In PRE mode switch down AUX 1 and 2 follow the TRIM and LOW CUT settings only EO PAN fader and MUTE settings have no ef fect on the PRE sends This is the preferred method for setting up stage monitor feeds theyll be controlled independently of the fader and mute moves 5 6 SHIFT Don t let the fact that there s only four AUX knobs per channel fool you the 1604 VLZ PRO has six AUX SENDs With the 5 6 SHIFT switch up the knobs labeled AUX 3 and AUX 4 deliver their signals to AUX SEND 3 and 4 out puts With the shift switch down the signals appear at the AUX SEND 5 and 6 outputs We recommend that AUX SEND 3 and 4 be patched into your utility effects like a short re verb and slap delay effects you use all the time Use AUX SEND 5 and 6 for exotic effects like harmonizers and multi tap delays they are not likely to be used as often MUTE m POST SIGNAL FRE SWITCH AUX 2 2l OUTPUT SECTION DESCRIPTION 1604 VLZ ame 16 CHANNEL MIC LINE MIXER WITH PREMIUM XDR MIC PREAMPLIFIERS 15 EFFECTS MONITORS 35 ASSIGN OPTIONS SOLO 1 m 20 TOSUBS 3 4 Y E ws I O CR PHNS RETURNS 20 ONLY SOLO PHAN PWR oe 1 STEREO AUX RETURN LEFT RIGHT CO ee OO 20 e 0 TAPE IN 7 6 04 C EE e e06 0 ES 60 090 20 9
16. part When a channels SOLO switch is engaged this LED will glow steadily without flickering It will also be brighter than it would be as a 20 indicator In conjunction with the SOLO LIGHT you can find a rogue SOLO switch very quickly OL MUTE LED Another LED that does two completely differ ent things First the OL part means overload or clip You don t want that to happen Ever Clipping can happen to any mixer it s the point where the signal s voltage exceeds the supply voltages that power the circuitry The 1604 VLZ PRO s OL LED will come on just be fore clipping so if you see it take immediate action Perform the Level Setting Procedure If that doesn t help check for excessive use of EQ boost or fader gain Like the 20 LED it will tend to flicker in time with that channel s signal Now for the MUTE part Assuming your levels are set correctly the OL LED will never come on as a result of clipping That s pretty boring 50 to things up this LED will glow steadily when that channel s MUTE switch 15 engaged If you need a quick reference to these LEDs write this on the back of your hand name color flickering 20 SOLO green signal is present channel is clipping glowing channel is soloed OL MUTE red channel is muted D MUTE Engaging a channel s MUTE switch pro vides the same results as turning the fader all the way down Any chann
17. theyre patched from channel s DIRECT OUT jacks to the corresponding multitrack input DIRECT OUT 1 to multitrack input 1 2 to 2 3 to 3 etc The signals will now re corded or pass directly through the multitrack depending on each track s record ready status multitrack machine o0 n0 00 000 o 0000109 O70000 00 ary 19990106 10000 ae oo TDI 111 19990 06 19909106 o000 direct group 4 outputs outputs The outputs of the multitrack are then patched to the next eight LINE inputs on the 1604 VLZ PRO multitrack out 1 to LINE input 9 2 to 10 8 to 11 etc Aha That s why it says TRACK 1 next to channel 95 fader TRACK 2 next to channel 10 and so forth These chan nels 9 16 will be assigned to the mixer s output section delivering the signals to their ultimate destination which may be your mixdown 2 track your control room system or your headphones 0000 1 12 But let s not forget that the 1604 VLZ is a 4 bus mixer These buses lead to the SUB OUTS 6 and are designed to accomplish the task of getting channels to the
18. 142 2150 for instance OUTS CONTROL ROOM OUTPUTS These 14 jacks are usually patched to the inputs of your control room amplifier or a headphone distribution amplifier 7b learn how signals are routed to these outputs To wire your own cables 0 PHONES OUTPUT The 1604 VLZ PRO s stereo phones jack will drive any standard headphone to very loud levels Walkperson type phones can also be used with an appropriate adapter 10 learn how signals are routed to these outputs Tf you re wiring your own cable for the PHONES output follow standard conventions SLEEVE RING TIP RING SLEEVE N RING Ring right channel Sleeve common ground Tip left channel ASSIGN TO MAIN MIX L LEFT LEFT LEFT LEFT RIGHT RIGHT 1 2 3 4A 14 WARNING When we say the headphone amp is loud we re not kidding It can cause permanent ear damage Even intermedi ate levels may be painfully loud with some earphones BE CAREFUL Always turn the CTL ROOM PHONES knob all the way down before connecting head phones Keep it down until you ve put the phones on Then turn it up slowly Why Engineers who fry their ears find themselves with short careers TAPE OUTPUT These unbalanced RCA jacks tap the MAIN MIX outputs to make simultaneous recording and PA work more convenient Connect these to your 2 track recorder s inputs 7b learn how signals are routed to these outputs
19. LEFT on subgroup 1 and the AS SIGN TO MAIN MIX RIGHT on subgroup 2 Now you can ride the entire stereo drum mix with two faders 1 and 2 If you engage just one ASSIGN TO MAIN MIX switch per subgroup LEFT or RIGHT the signal sent to the MAIN MIX will be the When designing a mixing circuit the lowest noise and e 25 5 lt best crosstalk specs are achieved by using Very Low Impedance VLZ To implement VLZ in a mixer the power supply must be able to deliver plenty of current to the circuitry That s why those wall wart mixers are often noisy they can t power a VLZ circuit 22 same level as the SUB OUTS If you want the subgroup to appear in the center of the main mix engage both the ASSIGN TO MAIN MIX LEFT and ASSIGN TO MAIN MIX RIGHT switches The signal will be sent to both sides and will be attenuated just enough to pre serve constant loudness just like the channel PAN knobs when set center IN LEVEL This knob controls the level of the stereo signal coming from the TAPE INPUT RCA jacks Its range is off when fully down unity at the center detent with 20dB additional gain turned fully up which may come in handy if you ve patched in a walkperson type device with wimpy output levels After the TAPE IN level is determined the stereo tape signal can be sent to either of two places the MAIN MIX or the SOURCE matrix TO MAIN MIX
20. amplifiers last Save the shipping box You may need it someday and you don t want to have to pay for another one O INSTANT MIXING Here s how to get going S right away assuming you own a SN microphone and a keyboard 1 Plugyourmicrophone into Channel 15 MIC input 2 Turnonthe 1604 VLZPRO 3 Perform the Level Setting Procedure 0 4 Connect cords from the MAIN OUT jacks to your amplifier Hookupspeakerstothe amp andturniton set channel I s fader to mark Engage pushin Channel 1 sL R switch set the MAIN MIX fader one quarter of the wayup 9 Singlikeacanary 10 Plugyour keyboardinto channels 8 and 4 Turnchannel3 s PAN knob fully left and channel 4 5 PAN knob fullyright 12 those faders to mark 13 Perform the Level Setting Procedure O 14 Engage the LR switch on these channels 15 Playlikeamadmanand sing like acanary It s your first mix Qo aI C Please write your serial number here for future reference i e insurance claims tech support return authorization etc P Purchased at Date of am 9 INTRODUCTION Thank you for choosing a Mackie Designs pro fessional compact mixer The 1604 VLZ PRO is equipped with our new precision engineered XDR Extended Dynamic Range premium studio grade mic preamp featuring e Full gain range from 0 to 60dB 22 dBu line signal handling capability 130 dB dynamic range D
21. r E ano e4nd4no m B E WANN Ia 4 141 100193419 0 3 5 9139 XNV Track Tracking SLAdNI TAN NI 110 waNn wa 110 11049 110 915 S3NOHd Gu o iste eee 1604 VLZ PRO 6 Stereo Fower Amplifier S 09 024946 9 40 2442552 1 Joyuoy E mm 1 2 90900 990 1010 193uld 50 45 xnv 9 7 9 110 exin HO4 p224 4nd4no 3 LON 094946 4086244107 094946 qno 094246 ui EXT NWH9 490A 091916 0000000 0000000 EE DARAN 25005000 lt Ox 3 024246 49440 4eyeedo soyeadg yd 1604 VLZ PRO Stereo 4085244105 0914245 PTEN 4no 094946 00000000000000 VOOVO 00
22. stereo pair try switching them around For example if a left output is presumed dead switch the left and right cords at the mixer end If the problem stays on the left it s not the mixer e Unplug everthing from the MAIN INSERTS Noise e Turn the channel faders and AUX RETURN knobs down one by one If the sound disappears it s either that channel or whatever is plugged into it so unplug whatever that is If the noise disappears it s from your whatever Power Our favorite question Is the POWER switch on Check the fuse 69 REPAIR Service for the U S version of the 1604 VLZ PRO is only available from Mackie Designs lo cated in sunny Woodinville Washington Service for mixers living outside the United States can be obtained through local dealers or distribu tors If your mixer needs service follow these instructions 1 heview the preceding troubleshooting suggestions Please 2 Call Tech Support at 1 800 258 6883 8am to opm PST to explain the problem and request an R A number Have your mixer s serial number ready You must have a Return Authorization number or we may refuse the delivery 3 Set aside the power cord owner s manual or anything else that you ll ever want to see again We are responsible for the return of the mixer only 4 Packthe mixer in its original package including endcaps and box This is VERY IMPORTANT When you call for the RA number please let Tech Support know
23. 15 Grounding or Polarization Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated 16 Power Precautions Unplug this Mackie product during lightning storms or when unused for long periods of time Note that this Mackie product is not completely disconnected from the AC mains service when the power switch is in the OFF position 17 This apparatus does not exceed the Class A Class B whichever is applicable limits for radio noise emissions from digital apparatus as set out in the radio interference regulations the Canadian Department of Communications ATTENTION Le pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils num riques de class A de class selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communications du Canada 18 Exposure to extremely high noise levels may cause permanent hearing loss Individuals vary considerably in susceptibility to noiseinduced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time The U S Government s Occupational Safety and Health Administration OSHA has specified the permissible noise level exposures shown in the following chart According to OSHA any exposure in excess of these permissible limits could result in some hearing loss To ensure a
24. Just reach for this knob and turn it down a bit Just the thing for send ing mono signals to mic inputs like camcorders telephone interface boxes even answering machines With the pot all the way up fully clockwise you ll have of extra gain with unity gain halfway between the one and two o clock positions POWER CONNECTION Just in case you lose the cord provided with the 1604 VLZ PRO its power jack accepts a standard 3 IEC cord like those found on most professional recorders musical instru ments and computers At the other end of our cord is get this a plug Not a black cube or as we re fond of calling them a wall wart We did this for some very good reasons The 1604 VLZ PRO has sophisticated power requirements that a wall wart cannot provide Wall warts are inconvenient fragile radiate huge hum fields hog extra jacks on your power strip and get in the way If you lose a wall wart you re in trouble but if you lose the 1604 VLZ PRO s power cord you can get a new one at any elec tronics music or computer store You can even buy them at Radio Shack part 278 1257 Plug the 1604 VLZ PRO into any standard grounded 9 AC outlet or into a power strip of proper voltage WARNING Disconnecting the plug s ground pin can be dangerous Please don t do it FUSE The 1604 VLZ is fused for your and its own protection If you
25. down the subgroup faders That s why we threw 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 into the MAIN MIX You ve just learned about the optional exceptions involving AUX RETURN 3 AUX RETURN 4 also has an optional excep tion By engaging the C R PHNS switch you will remove AUX RETURN 4 s stereo signal from the MAIN MIX and send it directly to the ROOM PHONES SOURCE matrix It matters not if any of the SOURCE matrix switches 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 a 2 track deck a house PA or both and you want to play along to a click track You could run the click track directly into the MAIN MIX but you don t want the mixdown deck and or audience to hear it By gum this is the switch for you Similarly it can be used for voice over tracks narration anything you want heard by the engineer and players but not by the audi ence and mixdown deck Cy A MAIN MIX m 20 5085 et A RETURNS 20 SOLO STEREO AUX RETURN RETURNS SOLO This switch operates just like the channel SOLO switches engaging it sends signals to the C R OUTS PHONES output and meter dis play and interrupts whatever happened to be there before you soloed It follows the MODE switch setting as well The only difference is that
26. into a channel s MIC or LINE input jacks 18 LEVEL SET PFL is also the preferred mode for SR sound reinforcement or live sound to preview channels before they are let into the mix It won t give you stereo placement but will give you signal even if the fader is pulled down Remember LEVEL SET PFL taps the chan nel signal before the fader If you have a channel s fader set way below U unity gain SOLO won t know that and will send a unity gain signal to the C R OUTS PHONES output and meter display That may result in a startling level boost at these outputs depending on the position of the SOLO level knob 9 a nutshell soloed channels are sent to the SOURCE mix that ultimately feeds your C R OUTS PHONES output and meter display Whenever SOLO is engaged all SOURCE se lections MAIN MIX 1 2 3 4 and are defeated to allow the soloed channel to do just that SOLO 20 SOLO LED LED that does two completely different things Saves space but requires some expla nation First the 20 part Often referred to as signal activity this LED will flicker in time with the signal present in that channel It s handy for confirming that a channel is indeed active and may also lend a clue as to what the signal is For instance a kick drum will cause the LED to pulse in time with the drum and a synth pad will cause it glow a bit more steadily Now for the SOLO
27. plete strangers both named Fred Sends are outputs returns are inputs The AUX knob taps the signal off the channel and sends it to the AUX SEND outputs AUX 1 and 2 are sent to the AUX SENDS 1 and 2 master knobs before the AUX SEND outputs 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 of the external device are fed back to the mixer s AUX RETURN inputs Then these signals are sent through the AUX RETURN level controls and finally delivered to the MAIN MIX So the original dry signals come from the channels to the MAIN MIX and the affected wet signals come from AUX RETURNS to the MAIN MIX and once mixed together the dry and wet signals combine to create a glori ous sound Armed with this knowledge let s visit the Auxiliary World C AUX SENDS MASTER These knobs provide overall level control of AUX SENDS 1 and 2 just before they re delivered to their AUX SEND outputs This is perfect for control ling the level of stage monitors since youll be using AUX 1 and 2 for this with their PRE switches en gaged AUX SENDS 3 through am mm mao 6 have no such control they ll just send their mixes directly to their respective AUX SEND out puts at unity gain This knob goes from off turned fully down to unity gain at the center detent with 10dB of extra gain turned fully up As with some other
28. pro vides an additional 10dB should you need to boost a section of a song If you find that the overall level is too quiet or too loud with a fader near unity you ll want to confirm the TRIM setting by performing the Level Setting Procedure Clean Fade Faders are not rocket science they operate by dragging a metal pin the wiper across a carbon based strip the track It is possible for airborne crud to land on the track Should that happen you may hear scratchy noises or signal drop outs as the wiper stumbles over the Do all you can to keep airborne crud out of your profession Use air conditioned rooms when ever possible avoid smoking near the mixer keep food and drink away from the mixer and for pitys sake never put the mixer in your kitchen We also recommend exercising the faders give them a few full travel excur sions once a week or so and that will help scare the crud away We do not recommend spray cleaners ASSIGN 1 2 3 4 L R Alongside each channel fader are four but tons labeled SOLO 1 2 3 4 and L R The latter three are collectively referred to as chan nel assignment switches 1 3 and L are the left sides of these stereo pairs and 2 4 and R are the right sides Used in conjunction with the channel s PAN knob these switches deter mine the destination of a channel s signal With the PAN knob set at the center detent the left and right sides receive equal
29. suspect a blown fuse disconnect the power cord pull the fuse drawer out located just below the cord receptacle and replace the fuse with a SLO BLO 5x20mm available at electronics stores or your dealer or a 500mA 0 5 amps SLO BLO 5x20mm if your 1604 VLZ PRO is a 220V 240V unit POWER SWITCH If this one isn t self explanatory we give up You can leave this switch on all the time the 1604 VLZ PRO is conservatively designed so heat buildup isn t a problem even in 24 hour a day operation There s nothing that will burn out or get used up You may notice that the 1604 VLZ PRO s pod feels quite warm the pod is the chassis that contains the jacks This is perfectly normal POWER LED You ve probably already figured this out but if the POWER switch is on this LED light emitting diode located in the output section will light If the switch is off well you get the idea If the POWER switch is on and the LED does not glow one of three things has hap pened Somebody tripped over the power cord and yanked it from the outlet your electricity has been turned off due to nonpayment or the fuse has blown PHANTOM SWITCH The PHANTOM switch controls the phan tom power supply for condenser microphones as discussed at the start of this section When turned on or off the phantom power circuitry takes a few moments for voltage to ramp up or down This is als
30. to processor This plug connects to one of the n 9 mixer s Channel Insert jacks RETURN from processor 4 Tip send output to effects device Ring return input from effects device Sleeve common ground Even though channels 1 8 already have DIRECT OUT jacks INSERT jacks can also be used as channel direct outputs post TRIM pre LOW CUT and Here s three ways you can use the INSERT jacks MONO PLUG e Channel Insert jack Direct out with no signal interruption to master A pm Insert only to first click MONO PLUG _ Channel Insert jack Direct out with signal interruption to master Insert all the way in to the second click Channel Insert jack STEREO 7 PLUG For use ae an effecte loop TIP SEND to effect RING RETURN from effect D DIRECT OUT Found only on channels 1 8 these 1 4 jacks deliver the signal from the very end of the channel path post TRIM post EO post LOW CUT post fader and post MUTE They are the key player in split monitoring making the 1604 VLZ PRO perfect for an 8 track studio 70 wire your own cables 1 D SPLIT MONITORING With split monitoring you use the first eight channels for your sound sources vocal mics drum mics keyboard synth outputs guitar effects outputs that sort of thing From there the channels manipulate the sound but are not assigned to the output section Instead
31. users were forced to go out and buy the XLR 10 mic input add on module No more Each and every channel on the New Improved 1604 VLZ PRO has the legendary Mackie mic line input circuit It s like getting a free XLR 10 with your mixer MIC INPUTS We use phantom powered balanced micro phone inputs just like the big studio mega consoles for exactly the same reason This kind of circuit is excellent at hum and noise You can plug in almost any kind of mic that has a standard XLR type male mic connector Always be sure to perform the Level Setting Procedure 6 To learn how sig nals are routed from these inputs 63 If you wire your own connect them like this Pin 1 ground or shield Pin 2 positive or hot Pin 3 negative or cold Professional ribbon dynamic and condenser mics will all sound excellent through these in puts The 1604 VLZ PRO s mic inputs will handle almost any kind of mic level you can toss at them without overloading PHANTOM POWER Most condenser mics require phantom power where the mixer sends low current DC voltage to the mic s electronics through the same wires that carry audio The 1604 VLZ PRO s phantom power is globally controlled by the PHANTOM switch on the rear panel Semipro condenser mics often have batter ies to accomplish the same thing Phantom owes its name to an ability to be unseen by dynamic mics Shure SM57 SMBS for i
32. when you engage the RETURNS SOLO switch it sends all four STEREO AUX RETURNS signals to the SOLO circuit Assume you want to solo the snare drum Hit that channel s SOLO switch and you get the dry no effects snare only That helps but you want to hear it with the reverb you have patched into an AUX RETURN Leaving that channel s SOLO switch engaged also en gage the RETURNS SOLO switch and now you ll get the dry snare and its reverb Since it is a global feature you ll also get the signals from all the other AUX RETURNS so there may be some sounds that you didn t want to hear If they offend your sensibilities simply turn down the levels of the STEREO AUX RETURNS you don t want to hear or MUTE the channels feeding the unwanted sig nal to the effects device you do want to hear Congratulations You ve just read about all the features of your 1604 VLZ PRO You re prob ably ready for a cold one Go ahead The rest of the manual can wait MODIFICATIONS For most folks the 1604 VLZ PRO works just fine the way it is But for special applications there are two signal routing changes that can be performed easily on the 1604 VLZ PRO Easy for someone with soldering experience that is If you don t know how to solder find a technician that can This is NOT a good place to learn e Modification changes AUX SEND 1 and 2 with the pre switch engaged to be post EQ instead of pre EQ e Mod changes the SO
33. 15 OO 15 OO 15 15 PHAN PWR 20 ONLY SOLO 5 _ sifr _ STEREO AUX RETURN EQ EQ u E EQ HI EQ HI LEFT RIGHT 12k 12k y 12k y 12k M 12k H 0 dB 0 dBu 45 15 M5 15 M5 5 M5 15 M5 445 CO 20 Qn Q U MID 0 MID 0 MID U MID U MID MID cTLROOM PHONES TAPE IN 070 2 15 15 M5 15 M5 15 15 15 M5 15 M5 15 800 800 800 800 800 800 E Q 0 E 6 EMI A 200 2k 2 200 2k x 5 2 Xu 2 100 8k 100 8k 100 8k 100 8k 100 8k M LEVEL 7 m LOW LOW LOW LOW u LOW SOLO SET 80Hz 80Hz 80Hz 80Hz 80Hz SUBS 3 4 E O10 E 5 415 UB 15 UB 415 U5 415 5 15 MAIN MC eus C O30 LOW LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT CTL ROOM NORMAL AFL RUDE ke 184B OCT 2 184B OCT OCT 184B OCT 184B OCT 184B OCT 184B OCT SOURCE y LEVEL SET PFD DGFT 3 3 3 PAN ASSIGN MAIN MIX ZAN gt gt gt LEFT LEFT L R L R 22 RIGHT RIGHT RIGHT MAIN 2 3 4 MIX Ps E aaa laa dS 8 COLOPHON Roll credits please Manual written by Jeff Gilbert based on a vignette by Ron Koliha with tidbits borrowed from almost everywhere Manual then defaced with proofreading pens in the
34. 4 gt e CR PHNS RETURNS WES ONLY SOLO STEREO AUX RETURN T LEFT RIGHT O0 dB 0 dBu 3 320 On e ROOM PHONES TAPEIN 4 0 2 909 929 9 9 oo 00 Neza mo 2 SOURCE ASSIGN TO MAIN MIX ZZ LEFT LEFT LEFT 2 RIGHT RIGHT RIGHT RIGHT MAIN 1 2 3 4 MIX 5 10 8 eels le OIN 8 8 z5 3 S E f f f F 5 H 08 d AES S Wd pec shee Wal E CNW eee UL ACE S Sd ud iz gt x zi e m Li ox 30 L R L R L R L R L R L R 2 8 8 CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION TO REDUCE THE RISK OF ELECT
35. 402 LAIHS v Xnv 3 2 01401 2 1 4 ol XIN SANOHd a 9 LAANI 110 EE a ec __ M bs Tt 1 AAA ELSE CAL E d cd 4 1604 VLZ PRO BLOCK DIAGRAM 323006 QNO 84562 100 1233 XIN OL INO LHA XIN as 4 JHOWINOAdvL 119 T 39 000 INO 1421 XIN P 2 52 NI 2IA mom XIN aln NOl Sv wav T 2 1 6 110 ONOW XIN fom ZZ 555555 a 0105 HOLIMS 1 010 lt lt lt lt lt HAH EE 3332174 10 3332114 33404 WOINVHA 28 GAIN STRUCTURE DIAGRAM SANOHd WOO3 10541309 NI 0106 1n4lno XIN 323006 T3A31 084 ZIA vOO9 32 VI 0231 d 04 ede sqng geo geo dn XIN 4no dn qpoz e 2uueu Nana ANAS SS dn Jndlno 49399WN
36. 54 4000 Fax 425 487 4337 www mackie com E mail sales mackie com
37. A jack switch in the RIGHT jack will disable the mono function and the signals will show up in stereo mono signal connected to the RIGHT jack will show up in the right bus only You probably will only want to use this sophisticated effect for special occasions weddings bar mitzvahs Rush Limbaughs birthday party etc MULTS AND Y s Amult or Y connector allows you to route one output to two or more inputs by simply providing parallel wiring connections You can make 5 and mults for the outputs of both unbalanced and balanced circuits Remember Only mult or Y an output into sev eral inputs If you need to combine several out puts into one input you must use a mixer not a mult or Y 5 gt MIXER CHANNEL INSERT PROCESSOR OUTPUT TO PROCESSOR INPUT Y cord insert cable Y cord splitter cable 85 1604 VLZ PRO 16 CHANNEL MIC LINE MIXER WITH PREMIUM XDR MIC PREAMPLIFIERS Session Date NOTES TRIM 1 TRIM 2 TRIM 3 TRIM 4 TRIM 5 TRIM 6 TRIM 7 TRIM 8 80 ve 5 QO QO 15dB 45 15dB 45dB 159 45dB 159 45dB 15dB 45dB 159 45dB 15dB 45dB 15dB 45 OO 15 U U U U U U U U OO 15 OO 15 15 15 15 15 15 15 PRE PRE PRE PRE PRE PRE PRE PRE OO 15 OO 15 15 15 15 15 15 15 U U U
38. E mS SLEEVE SLEEVE Tip signal Sleeve ground 9 TRIM Yes it s true these controls are not located in the patchbay section at all They re found along the top row of knobs in the channel strip section But their purpose is so closely linked with the MIC and LINE input jacks that we couldn t bear to separate them Here s why Every time you plug something into a MIC or LINE input jack you should perform the Level Setting Procedure and that procedure is basically how to use the TRIM knob TRIM adjusts the input sensitivity of the MIC and LINE inputs This allows signals from the outside world to be adjusted to optimal internal operating levels Through the XLR jack MIC there will be OdB of gain with the knob fully down ramping to 60dB of gain fully up Through the 14 input LINE there is 15dB of attenuation fully down and 45dB of gain fully up with a U unity gain mark at 10 00 This 15dB of attenuation can be very handy when you are inserting a signal that is very hot or you want to add a lot of EQ gain or both Without this virtual pad a scenario like that might lead to channel clipping D INSERT These 1 jacks are for connecting serial effects processors such as compressors equaliz ers de essers or filters 9 The INSERT point is after the TRIM control but before the channel s LOW CUT fader and MUTE controls Insert cables must be wired thusly SEND
39. Engaging this switch is just like engaging the L R switch on a channel the signal stereo in this case is sent to the MAIN MIX It does not interrupt other signals just adds itself to them This switch can be very handy in a live sound situation when you want to play soothing elevator music to an anxious crowd WARNING Engaging TAPE TO MAIN MIX can create a feedback path tween TAPE INPUT and TAPE OUTPUT Make sure your tape deck 18 not in record record pause or input monitor mode when you engage this switch or that the TAPE IN level knob is turned fully down SOURCE Typically the engineer sends the main mix to an audience if live or to a mixdown deck if recording But what if the engineer needs to hear something other than the main mix With the New Improved 1604 VLZ PRO the en gineer has several choices of what to listen to This is one of those tricky parts have a double espresso first Via the SOURCE switches you can choose to listen to any combination of MAIN MIX SUBS 1 2 SUBS 3 4 and TAPE Selections made in the SOURCE matrix deliver stereo signals to the C R OUTS PHONES output and meter display These signals are tapped after their respective level controls post MAIN MIX fader post subgroup faders and post TAPE IN knob With no switches engaged there will be no signal at these outputs and no meter indication with two exceptions SOLO and AUX RETURN 4 One of those exceptions i
40. FIGURE US PATENT NUMBER 29 049 129 9o INSERT LINE 22 1 OR 273 EFFECTS SERIAL OR PARALLEL You ve heard us carelessly toss around the terms serial and parallel Here s what we mean by them Serial means that the entire signal leaves the mixer INSERT send is routed through the effects device and returns to the mixer INSERT return Examples compressor lim iter graphic equalizer Line level sources can also be patched through a serial effects device before or after the mixer Parallel means that a portion of the signal in the mixer is tapped off to the device AUX SEND processed and returned to the mixer AUX RETURN to be mixed with the original dry signal This way multiple channels can all make use of the same effects device Examples reverb digital delay D AUX RETURN INPUTS This is where you connect the outputs of your parallel effects devices or extra audio sources They ll accept just about any pro or semipro effects device on the market 70 learn how sig nals are routed from these inputs To wire your own cables Serial Device e g Compressor Insert Mono If you have an effects device with a mono output one cord plug that into L in put of an AUX RETURN and leave the right input unplugged That way the signal will be sent to both sides magically appearing in the center as a mono signal SUB OUTS These 1 jac
41. PECIAL MACKIE CONNECTIONS The balanced to unbalanced connection has been anticipated in the wiring of Mackie jacks A TS plug inserted into a TRS balanced input for example will automatically unbalance the input and make all the right connections Con versely a TRS plug inserted into a unbalanced input will automatically tie the ring low or cold to ground earth TRS Send Receive Insert Jacks Mackies single jack inserts are the three conductor TRS type phone They are unbalanced but have both the mixer output send and the mixer input return signals in one connector See Figure The sleeve is the common ground earth for both signals The send from the mixer to the external unit is carried on the tip and the re turn from the unit to the mixer is on the ring SEND to processor ring TRS plug This plug connecte to one of the mixers Channel Insert jacks RETURN from processor g Figure E Insert Plug 99 Using the Send Only on an Insert Jack If you insert a TS mono plug only partially to first click into a Mackie insert jack the plug will not activate the Jack switch and will not open the insert loop in the circuit thereby allow ing the channel signal to continue on its merry way through the mixer This allows you to tap out the channel or bus signal at that point in the circuit without inter rupting normal operation If you pus
42. RIC SHOCK DO NOT REMOVE COVER OR NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL ATTENTION POUR EVITER LES RISQUES DE CHOC ELECTRIQUE NE PAS ENLEVER LE COUVERCLE AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L USAGER CONFIER L ENTRETIEN AU PERSONNEL QUALIFIE AVIS POUR EVITER LES RISQUES D INCENDIE OU D ELECTROCUTION N EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L HUMIDITE The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons Le symbole clair avec point de l int rieur d un triangle quilat ral est utilis pour alerter l utilisateur de la pr sence l int rieur du coffret de voltage dangereux non isol d ampleur suffisante pour constituer un risque d l ctrocution 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 l int rieur d un triangle quilat ral est employ pour alerter les utilisateurs de la pr sence d instructions importantes pour le fonctionnement et l entretien service dans le livret d instruction accompagnant l appareil SAFETY INSTRUCTIONS 1 Read Instructio
43. SIGNS INC DESIGNED BY MACKOIDS IN WOODINVILLE WA USA COPYRIGHT 1998 THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF DESIGN INC MACKIE VLZ XDR AND THE RUNNING FIGURE US PATENT NUMBER 29 049 129 c e NN c NN w 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 MACKIE 1604 VLZ PRO 16 CHANNEL MIC LINE MIXER WITH PREMIUM XDR MIC PREAMPLIFIERS 11 JisdB 4548 12 1604 VLZ PRO 16 CHANNEL MIC LINE MIXER WITH PREMIUM XDR MIC PREAMPLIFIERS LAMP AUX AUX AUX SEND 09 TO AUX SEND 1 99 5 EFFECTS TO U MONITORS 2 TO AUX SEND2 5 u ASSIGN OPTIONS _1 2 SEED Y TOSUBS 3 4 Y __
44. U U U U U OO 15 OO 15 15 15 15 15 15 15 sir C Cy Oy Cy C Cy 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 A IA X 4 9 44 0 S 24 8k 200 200 200 200 2k 100 8 100 8 10 8 3 3 Hz 15 2 15 4 15 15 L 7 S 100 8k 100 8k 15 15 415 15 15 15 15 LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT 75Hz 75Hz 75Hz 75Hz 75Hz 75Hz 75Hz 75Hz 18dB OCT 18dB OCT 18dB OCT 18dB OCT 18dB OCT 18dB OCT 18dB OCT 18dB OCT pt 5 O 2111 8 EEG m Eum Emig c m 7 120 50 60 Hz 20W POWER PHANTOM MAIN OUT MAIN INSERT TAPE TAPE OUT SUB OUT AUX RETURN AUX SEND DIRECT OUT 1A 250V SLO BLO ON BAL UNBAL RIN NG RETURN INPUT OUTPUT BAL UNBAL BAL UNBAL BAL UNBAL BAL UNBAL NBAL 2753 ZI 225 Z3 1 2257 22065 2204 3 SZ 2 2 JQ 2 2 22 25 AY AY pP 6 Cy RETE ur 9 6 ATTENTION UTILISE UN FUSELEDEREHAMEE DE MEME TYPE DENARI AVANT De RENPLACIR LE FUSIBLE S 27 S 27 S 27 27 INSERT INSERT INSERT INSERT INSERT INSERT INSERT pq b INSERT po
45. URCE matrix s MAIN MIX selection to tap the stereo signal before the MAIN MIX level control pre instead of after post Instructions for performing these modifications can be found on our website at www mackie com click on Support Or you can call Tech Support at 1 800 258 6883 for assistance 21 100 xnv lt lt ANAS xnv wi L 41 66 1 0106 ZW O9 Je lt 0106 a 46 427 IVOLLNAI Z NT De gt gt SNH4 3 2 GvouNaai xi Nanc gt gt OLNOISGY 2 XINANS gt lt XWNNWOLNOISGV 3 gt 1102416 gt Nalr 1 XIN 915 1 n A lt XINNS gt gt XIN OL NOIGGV n 22 1101816 gt 1 XIN 916 2 NANLIA E E lt OL L RE XIN 0106 2 144 Em 7 IS 7 em Z NANLAA XNY 144 466 1 22 NOW Olxd3 Tam on 2 11008 AVTA Fs 0105 fe _ 1 6 NOW Tm 110 1021
46. URN 35 stereo signal will not be sent to the MAIN MIX but to subgroup fad ers 1 and 2 1 2 3 4 switch up or subgroup faders 3 and 4 switch down Let s say you ve made a stereo drum submix on subgroup faders 1 and 2 so you can ride those two faders instead of the seven channels that the drums came from Subgroup fader 1 has its ASSIGN TO MAIN MIX LEFT button engaged and subgroup fader 2 has its ASSIGN TO MAIN MIX RIGHT button engaged blending the drum submix back into the MAIN MIX The drum channels are also sending signals to your reverb via the AUX sends and the reverb outputs are patched into AUX RETURN 3 So far so good Even though you could send AUX RETURN 3 directly to the MAIN MIX MAIN MIX TO SUBS switch up you don t want to Instead engage the MAIN MIX TO SUBS switch and make sure the 1 2 3 4 switch is up Now the reverb return will be blended into the drum submix and as you ride those two faders the reverb level will follow Why do we want that Because if you had just sent the reverb directly to the MAIN MIX MAIN MIX SUBS switch up and you did drum fade out using subgroup faders 1 and 2 the dry signals would fade out but the wet signals would keep on singing All you would hear is the drum reverb the wet and none of the original drum signals the That s be cause the reverb is being fed by the channel s AUX sends and they have no idea that you ve pulled
47. anual 5 Contact the Mackie Authorized Service Center to arrange service or bring the product to them F Mackie and Mackie Authorized Service Centers reserve the right to inspect any products that may be the subject of any warranty claims before repair or replacement is carried out Mackie and Mackie Authorized Service Centers may at their option re quire proof of the original date of purchase in the form of a dated copy of the original dealer s invoice or sales receipt Final determination of warranty cov erage lies solely with Mackie Designs Inc or its Authorized Service Centers G Any Mackie product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced within thirty days of receipt by Mackie Mackie may use refurbished parts for repair or replacement of any product Products returned to Mackie that do not meet the terms of this Warranty will be repaired and returned C O D with billing for labor materials return freight and insurance Prod ucts repaired under warranty at Mackie s factory will be returned freight prepaid by Mackie to any location within the boundaries of the USA H Mackie warrants all repairs performed for 90 days or for the remainder of the original warranty period Mackie assumes no responsibility for the quality or timeliness of repairs performed by Mackie Authorized Service Centers I This warranty is extended to the original purchaser and to anyone who may sub
48. b slots remove screws o o o o o s replace screws o flush mount sunken Q PATCHBAY DESCRIPTION At the risk of stating the obvious this is where you plug everything in microphones line level instruments and effects and the ulti mate destination for your sound a tape recorder system etc few of the features described in this section are on top of the mixer but most are out back on the pod E Z INTERFACE Concerned about levels balancing impedances po larity or other interface goblins Don t be On your 1604 VLZ PRO you can patch anything almost anywhere with nary a care Here s why e Every input and output is balanced except insert phones and RCA jacks e Every input and output will also accept unbalanced lines except XLR jacks e Every input is designed to accept virtually any output impedance e The main left and right mix outputs can deliver 28dBu into as low as a 600 ohm load e All the other outputs can deliver 22dBu into as low as a 600 ohm load e 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 new sound source So stop worrying and start mixing MIC LINE INPUTS ON EVERY CHANNEL The original CR 1604 had six mic line channels and ten line only channels That was fine for most applications but live sound
49. e Mackie Factory or establish the starting date of 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 Designs Service Department 16220 Wood Red Rd NE Woodinville WA 98072 USA IMPORTANT Make sure that the RA number is plainly 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 5PM Monday through Friday Pacific Time to get 1 The name and address of your nearest Mackie Authorized Service Center and 2 A return au thorization RA You must have an RA number before taking your unit to a service center 2 Make sure that you have a copy of your product s sales receipt from the store where you bought the product It is necessary to establish purchase date and thus determine whether or not your product is still under warranty If you can t find it the Authorized Service Center may charge you for repairs even if your product is still covered by Mackie s 3 Year Limited Warranty 3 Make sure that the problem can be dupli cated If you bring your product to an Authorized Service Center and they can t find anything wrong with it you may be charged a service fee 4 If the Mackie Authorized Service Center is located in another city pack the product in its original shipping carton More information on packing can be found in the Service section of this m
50. e than enough cur rent resulting in sonic specifications that rival consoles upwards of 50 000 TD SUBGROUP FADERS As you might expect these faders control the levels of signals sent to the SUB OUTS All chan nels that are assigned to subgroups not muted and not turned fully down will appear at the SUB OUTS Unlike the MAIN OUT the sub group signals do not pass through an insert jack on their way to the subgroup faders That s no problem should you want to send these sig nals through a serial effects processor simply patch from the SUB OUTS to the effect s input and from the effect s output to whatever the fi nal destination is usually a multitrack recorder The subgroup signals is off when its fader is fully down the U marking is unity gain and fully up provides 10dB additional gain Re member that if you re treating two subgroups as a stereo pair subgroup 1 and 2 for example make sure that both subgroup faders ride together to maintain the left right balance G ASSIGN TO MAIN MIX One popular use of the subgroups is to use them as master faders for a group of channels on their way to the MAIN MIX Let s say you ve got a drum kit hogging up seven channels and you re going to want to fade them out at a differ ent rate than the other channels You don t want to try that with seven hands or seven fingers so just un assign these channels from L R reassign them to subgroup 1 2 engage the ASSIGN TO MAIN MIX
51. ecessary to hear what youre do ing to set optimal levels But if you d like to Plug headphones into the PHONES output jack then set the C R PHONES knob about one quarter of the way up The following steps must be performed one channel at a time Turn the TRIM AUX send and fader controlsfullydown Besure the 1 2 3 4 and L R channel assignmentswitches are all disengaged Set the EQknobs atthe center detents Connect signal source to the MIC or LINE channelinput Engage pushin thechannel s SOLO switch Pushinthe MODEswitchinthe output section LEVEL SET PFL mode the LEVEL SET LED will light Playsomethingintotheselected input at real world levels Adjust the TRIM control thatthe display onthe meter stays around 0 Onlythe left meter isactiveinthe Level Setting Procedure If you d like to apply some EQ do so nowand return tothe previous step Disengagethat channel sSOLOswitch Repeat for each of channels 1 16 Part No 0006982 90 Rev Al 06 03 2003 Mackie Designs Inc All Rights Reserved Other Nuggets of Wisdom For optimum sonic performance the channel faders and the MAIN MIX fader should be set near the unity gain markings Always turn the MAIN MIX fader and CTL ROOM PHONES knob down before making con nections to and from your 1604 VLZ PRO If you shut down your equipment turn off your amplifiers first When powering up turn on your
52. el assignment to L R 1 2 or 3 4 will be interrupted All the post AUX sends 2 will be silenced as will the DIRECT OUT signals on channels 1 through 8 And of course that fun loving OL MUTE LED will commence to glow The PRE AUX sends channel INSERT send and SOLO in LEVEL SET PFL mode will continue to function during MUTE Depending on the audio content in a chan nel engaging its MUTE switch may cause a slight popping sound This is not a problem within the mixer and it can be avoided Sim ply engage the LOW CUT switch on each channel unless its low frequency content is vitally important such as a Kick drum or bass guitar LOW CUT eliminates subsonic de bris which causes the pop and its effect is usually transparent 09 PAN PAN 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 in LEVEL SET PFL mode With the PAN knob hard left the signal will feed the left MAIN MIX subgroup 1 subgroup 3 and left NORMAL AFL solo mode assuming their assignment switches are engaged With the knob hard right signal feeds the right MAIN MIX sub group 2 subgroup 4 and right NORMAL AFL solo mode With the PAN knob set somewhere in between left and right the signal will be di vided between the left and right busses Stereo Sources Your life will be easier if you follow this standard convent
53. errupt the mix as we ve already covered 9 Once again engaging a SOLO switch will cause this dramatic turn of events Any existing SOURCE matrix selections will be replaced by the SOLO signals appearing at the C R OUTS PHONES output and at the meter display The audible solo levels are controlled by the SOLO level knob The SOLO levels appearing on the meter display 6 are not controlled by anything you wouldn t want that You want to see the actual channel level on the meter display regardless of how loud you re listening LEFT RIGHT 0 dB 0 z2 e 04 e 20 TAPE IN 02 CTL ROOM PHONES TAPE TO MAIN MIX SUBS 3 4 SOLO MAIN MIX MODE 6 e e NORMAL AFL RUDE LEVEL SET PFL HT CTL ROOM 23 MODE NORMAL LEVEL SET PFL You may have already seen this but in case you missed it The 1604 VLZ PROS solo system comes in two flavors NORMAL AFL sometimes called SIB or solo in place and LEVEL SET PFL sometimes called PFL or pre fader listen In NORMAL AFL the soloed LEFT RIGHT LEVEL SET LED To quote step 6 of the Level Setting Procedure Push in the MODE switch in the output section LEVEL SET PFL mode the LEVEL SET LED will light When the solo MODE switch is engaged it s in LEVEL SET PFL mode the mode you must be in to set 7 e _ channel s signal is sent directly
54. fader in this case During NORMAL AFL mode 69 you ll get AUX SEND 18 solo signal post AUX SENDS master level in the left side of the C R OUTS PHONES output and meter display and AUX SEND 2 on the right side If you ever use AUX 1 and 2 to create a stereo monitor mix you ll understand why In LEVEL SET PFL mode you ll get the signal dead center but still post AUX SENDS master level D AUX RETURNS LEVEL These four controls set the overall level of effects received from the stereo AUX RETURN input jacks These controls are designed to handle a wide range of signal levels each knob goes from off to unity gain at the detent to 20dB gain fully clockwise to compensate for E low level effects Signals passing WITH PREMIUM XDR MIC PREAMPLIFIERS evel controls will pro 4 ceed directly to the MAIN MIX OF fader with exceptions that AUX SEND 1 we ll discuss in a moment Typically these knobs can just live at the center detent and the effects device s output control should be set at what ever they call unity gain check their manual If that turns out to be too loud or too quiet ad 5 EFFECTS I TO AUX SEND 2 ASSIGN OPTIONS 320 rs lt ome STEREO AUX RETURN LEFT RIGHT U 0 dB 0 dBu C ee co M OO 20 0 6 2 0 020 40 st wes C
55. from desktop mode asit comes from for more exciting details Be sure to order the the factory to rackmount mode VLZ version so you don t end up with the one for Fear not We wouldnt dare take that feature out the classic CR 1604 of the New Improved 1604 VLZ PRO It s still there and still takes just a few minutes with your trusty screwdriver Here s how it s done 1 Remove ALL the cords from the mixer audio power lamps everything 2 Place the mixer face down on a clean soft surface like a blanket or very large dog 9 Remove the four screws securing the cable cover and set the plate aside 4 Replace two of the screws the ones at the pod end of the mixer 5 Remove two pod mounting screws on each side of the mixer Q 6 Gently pull the pod away from the slots rotate it and place it tabs first into the rackmount tabs located on the underside of the main chas sis Be careful not to constrict or pinch any of the ribbon or power cables 1 Carefully install the pod mounting screws in their new locations 8 Install the rack ears that came with the mixer They can be in stalled in either of two depths mixer surface flush with the rack rails like ordinary rackmount equipment or plate mixer s surface sunken into the rack to protect the knobs from being bumped _ o SCrewo remove F du ic rackmount ta
56. gainst potentially dangerous exposure to high sound pressure levels it is recommended that all persons exposed 10 equip ment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here Duration Per Day Sound Level dBA Slow Response Typical Example Duo in small dub In Hours Subway Train Very loud classical music Tami screaming at Adrian about deadlines 0 5 0 25 or less 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 READ THIS We realize that you must have a powerful hankerin to try out your new 1604 VLZ PRO Or you might be one of those people who never reads manuals Either way all we ask 15 that you read this page NOW and the rest can wait until you re good and ready But do read it you ll be glad you did LEVEL SETTING PROCEDURE Message to seasoned pros do NOT set levels using the old Turn the trim up until the clip light comes on then back off a hair trick When a Mackie Designs mixer clip light comes on you really are about to clip This procedure really works it assures low noise and high headroom Please read on It s not even n
57. h the TS plug in to the second click you will open the jack switch and create a direct out which does interrupt the signal in that channel See Figure NOTE Do not over load or short circuit the signal you are tapping from the mixer That will affect the internal signal MONO PLUG Channel Insert jack Direct out with no signal interruption to master Insert only to first click Vv MONO PLUG Channel Insert jack Direct out with signal interruption to master Insert all the way in to the second click Kc ES Channel Insert RI v use ae an effecte loop SEND to effect RING RETURN from effect gt Figure 94 MACKIE STEREO INPUTS AND RETURNS Mono Stereo Whatever Stereo line inputs and stereo AUX returns are fine example of the Mackie philosophy which we just made up of Maximum Flexibility with Mini mum Headache The inputs and returns will automatically be mono or stereo depending upon how you use the jacks Here s how it works mono signal should be patched into the input or return jack labeled Left MONO The signal will be routed to both the left and right sides of the return circuit and will show up in the center of the stereo pair of buses it s assigned to or it can be panned with the Balance control stereo signal having two plugs should be patched into the LEFT MONO and the RIGHT input or return jacks
58. hands of Mackie s legendary Tech Support staff Manual composed on a rinky dink PC using a low budget word processor then converted to this amazing piece of work using a 18 story 1000 gigawhopper Macintosh operated by Mackie s notorious Advertising staff Please feel free to let us know if you find an error or stumble over a confusing paragraph Thank you for reading the entire manual we know you have or you wouldnt be here Mackie Designs is always striving to improve our mixers 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 specifications at any time without notice Mackie the Running Man figure VLZ and XDR are trademarks or registered trademarks of Mackie Designs Inc All other brand names mentioned are trademarks or registered trademarks of their respective holders and are hereby acknowledged 92008 Mackie Designs Inc AII Rights Reserved 38 1604 VLZ PRO LIMITED WARRANTY Please keep your sales receipt in a safe place Mackie warrants all materials workmanship and proper operation of this product for a period of three years from the original date of purchase If any de fects are found in the materials or workmanship or if the product fails to function properly during the ap plicable warranty period Mackie at its option will repair or replace the product Labor fo
59. if you need a new box Mackie is not respon sible for any damage that occurs due to non factory packaging 5 Include a legible note stating your name shipping address no P O boxes daytime phone number R A number and a detailed description of the problem including how we can duplicate it 6 Write the R A number in BIG PRINT on top of the box 7 Ship the mixer to us We suggest insurance for all forms of cartage Ship to this address Mackie Designs Inc SERVICE DEPARTMENT 16220 Wood Red Rd NE Woodinville WA 98072 8 We ll try to fix the mixer within five business days Ask Tech Support for current turn around times when you call for your RA number We normally send everything back prepaid using three day shipping However if you rush your mixer to us by next day air we ll treat it in kind by shipping it back in the same way in which it was received This paragraph does not necessarily apply to non warranty service 9l APPENDIX A CONNECTIONS XLR CONNECTORS Mackie mixers use 3 pin female XLR con nectors on all microphone inputs with pin 1 wired to the grounded earthed shield pin 2 wired to the high or positive polarity side of the audio signal and pin 3 wired to the low cold or negative polarity side of the sig nal Figure A All totally aboveboard and in full accord with the hallowed standards dictated by the AES Audio Engineering Society Use a male XLR t
60. ion When patching stereo sound sources to a mixer always plug the left signal into an odd channel 1 3 5 etc and the right signal into the adjacent even chan nel 2 4 6 etc Then pan the odd channel hard left and the even channel hard right CONSTANT LOUDNESS The 1604 VLZ PRO s PAN controls employ a de sign called Constant Loudness It has nothing to do with living next to a freeway As you turn the PAN knob from left to right thereby caus ing the sound to move from the left to the center to the right the sound will appear to remain at the same volume or loudness If you have a channel panned hard left or right and reading OdB it must dip down about AdB on the left or right when panned center To do otherwise like those Brand X mixers would make the sound appear much louder when panned center 1 3 BAND MID SWEEP EQ The 1604 VLZ PRO has a 3 band mid sweep equalization LOW shelving at 80Hz MID sweep peaking from 100Hz to 8kHz and HI shelving at 12kHz It s probably all the EQ you ll ever need Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency For example the 1604 VLZ PRO s LOW EQ boosts bass frequencies starting at 80Hz and continuing down to the lowest note you never heard Peaking means that certain frequencies form a hill around the center frequency The LOW provides up to 15dB boost or cut at S0Hz The circuit is flat no b
61. istortion less than 0 0007 20Hz to 20kHz Bullet proof RF rejection using DC pulse transformer circuitry Now that you have your 1604 VLZ PRO find out how to get the most from it That s where this manual comes in HOW TO USE THIS MANUAL Since many of you folks will want to hook up your 1604 VLZ PRO immediately the first pages you will encounter after the table of contents are the ever popular hookup diagrams These show typical mixer setups for Record Mixdown Video Disc Jockey and Stereo PA After this section is a detailed tour of the entire mixer Every feature of the 1604 VLZ PRO will be described geographically in other words in order of where it is physically placed on the mixer s top or rear panel These descriptions are divided into the first three manual chapters just as your mixer is organized into three distinct ZONES 1 PATCHBAY The zillion jacks on the back of the pod 2 CHANNEL STRIP The sixteen channel strips on the left 3 OUTPUT SECTION The output section on the right 2885 lo SECTION f C T e AD e A 5 i s99 9 e ae ere
62. ks are usually patched to the in puts of a multitrack deck or to secondary amplifiers in a complex installation 70 learn how signals are routed to these outputs To wire your own cables Double Busing How on earth do you get four jacks to feed eight tracks To feed an 8 track deck with only four SUB OUTS simply use four Y cords e SUB OUT 1 feeds tracks 1 and 5 e SUB OUT 2 feeds tracks 2 and 6 e SUB OUT 3 feeds tracks 3 and 7 e SUB OUT 4 feeds tracks 4 and 8 Tracks in record mode will accept the signal and tracks in safe mode will ignore the signal It s that easy Insert Send _ _ Keturn Signal Processor Dry Signal Parallel Device e g Reverb L L TBEHEHH 0 0 0 _ Signal Processor Channel Path Dry Signal s Aux Return Processed Signal Output Section Wet Signal Mix Processed Stage Signal Dry Signal s 13 This method is exactly the same as the double busing feature found in other mixers Built in double busing is nothing more than Y cords living inside the mixer instead of hanging out the back If we had room for the extra jacks we would have thrown them in but we don t so we didn t Sonically there is no difference whatsoever Y cord advice Do not use the stereo head phone to left right splitter adapters Use the type that send the same signal to two places the tip of the source plug feeds the tips of both destination plugs Radio Shack
63. level controls you may AUX SEND ASSIGN OPTIONS 1 never need the additional gain but 7 if you ever do you ll be glad you bought a Mackie mu This is usually the knob you ARES Eus SOLD turn up when the lead singer 2 dox pede glares at you points at his stage monitor and sticks his thumb in the air It would follow suit that if the singer stuck his thumb down you d turn the knob down but that never happens 1604 VLZ PRO MACKIE x 12V 16 CHANNEL MIC LINE MIXER WITH PREMIUM XDR MIC PREAMPLIFIERS TO AUX SEND 1 LEFT RIGHT 0 dB 0 dBu QC ee OO 20 PHONES Q7 O O4 O 2 Z Q 067 0 Q1Q MODE 95 NORMAL RUDE SOLO W LEVELSET PFL fone 25 AUX SENDS SOLO Once again in a live sound situations AUX SEND 1 and 2 are likely to feed your stage monitors You ll want to check the mix you re sending them and that s what these two but tons are for AUX 3 through AUX 6 have no such switch Beside each switch is a green LED that just like the channel s 220 LED 69 helps you find the rogue SOLO switch The only thing different about AUX SENDS SOLO is that it s not really PFL pre fader lis ten and it s not really SIP solo in place it s actually AFL after fader listen and yes we know there s no
64. lug connects to one of the ring mixer s Channel Insert jacks RETURN from processor Tip send output to effects device Ring return input from effects device Sleeve common ground connect shield to all three sleeves MAIN OUTS These 1 jacks are usually patched to inputs of your 2 track mixdown deck unless you ve chosen to use the TAPE OUTPUT RCA jacks or to the house amplifier during live sound sessions 10 learn how signals are routed to these outputs use these out puts to drive balanced inputs connect TRS Tip Ring Sleeve phone plugs like this hot Ring cold Sleeve ground To use these outputs to drive unbalanced inputs connect 1 4 TS Tip Sleeve phone plugs like this SLEEVE Tip signal Sleeve ground SLEEVE MONO OUTPUT It happens to everybody sooner or later The forces that govern your world will demand a monaural output from your painstakingly created stereo panorama The last thing you want to do is start twirling all your carefully placed PAN settings to one side What to do Stick a cord in this 14 jack hand the other end to Mr Mono and you re done He s got his mono mix and youve still got your stereo mix The MONO output is nothing more than a mix of the left and right MAIN MIX MONO LEVEL 50 Mr Mono comes running back scream ing about the mono mix being so loud that his camcorder is melting
65. mixer that has a SOLO function with no indicator lights and you happen to forget you re in SOLO you can eas ily be tricked into thinking that something is wrong with your mixer Hence the RUDE SOLO LIGHT It s especially handy at about 9 00 in the morning when no sound is coming out of your monitors even though your multi track is playing back like mad METERS The 1604 VLZ PRO s peak metering system 15 made up of two columns of twelve LEDs Decep tively simple considering the multitude of signals that can be monitored by it If nothing 15 selected in the SOURCE matrix 6 and no channels are in SOLO the meter display will just sit there To put them to work you must make a selection in the SOURCE matrix or engage a SOLO switch Why You want the meter display to reflect what the engineer is listening to and as we ve covered the engineer is listening either to the C R OUTS or the PHONES output The only difference is that while the listening levels are controlled by the CTL ROOM PHONES knob the meter display reads the SOURCE mix be fore that control giving you the real facts at all times even if you re not listening at all When the solo MODE switch is set to LEVEL PFL down G9 all soloed signals will be sent to the left meter only That combined with LEVEL SET LED 0 are along the path of enlightenment known as the Level Setting Procedure During NORMAL AFL mode the meters will behave normally
66. multitrack with out using the direct outputs For example a channel is assigned to SUB OUT 1 SUB OUT 15s output is patched to multitrack input 1 From there the multitrack output goes to the mixer s channel 9 LINE input as we just discussed Hot tip To feed an 8 track deck with 4 sub outputs simply use Y cords SUB OUT 1 feeds tracks 1 and 5 2 feeds 2 and 6 3 feeds 3 and 7 and 4 feeds 4 and 8 Tracks in record mode will accept the signal and tracks in safe mode will ignore the signal The advantages You can assign any channel to any track without repatching You can as sign multiple channels to one track and control the overall level of that subgroup 2 You can t bounce tracks without this feature Perhaps the best method is to do both Use the SUB OUTS to feed multichannel submixes like a drum kit to some of the tracks and the DIRECT OUT jacks to feed single channel signals like bass guitar to the other tracks The point is that you never listen directly to the source channels 1 8 You listen to the monitor channels 9 16 and they re listening to the multitrack that is listening to the source channels The main advantage is that you won t be forced to constantly repatch your multitrack just set it up and forget it You ll also know for certain that the signals are indeed getting to multitrack since you re constantly listening to it Another method of interfacing a multitrack is called inline monito
67. n stance that don t need external power and aren t affected by it anyway Unless you know for cer tain it is safe to do so never plug single ended unbalanced micro phones instruments or electronic devices into the MIC input jacks if the phantom power is on gt E gt eres UN FUSIBLE DE RECHANGE DE MEME TYPE AVANT DE REMPLACER LE FUSIBLE DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPI DESIGNS INC 998 THE FOLLOWING ARE TRADE MARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC MACKIE VI OIDS IN WOODINVILLE WA USA COPYRIGHT 61 D LINE INPUTS These 14 jacks share circuitry but not phantom power with the mic preamps You can use these inputs for virtually any signal you ll come across from instrument levels as low as 50dB to operating levels of 10dBV to AdBu as there is 60dB of gain available via the TRIM knob 9 Always be sure to perform the Level Setting Procedure To learn how signals are routed from these inputs To connect balanced lines to these inputs use a 1 4 tip ring sleeve TRS plug the type found on some stereo headphones RING TIP SLEEVE positive or hot Ring negative or cold Sleeve shield or ground connect unbalanced lines to these in puts use a 14 mono TS phone plug or standard instrument cable SLEEV
68. n INSERT ZN NN 6 SN 16 6 651616 Q 74 NS SS _Z7 LINE 16 LINE 15 12 LINE 11 LINE LINE LINE LINE 3 LINE 2 LINE 1 BAL X BAL X BAL 6 gt BAL N BAL 5 BAL SN BAL 5 5 XI uq Q 2 2 Q amp Q 5 MIC 10 IC 2 MIC 1 S XDR EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS INC DESIGNED BY MACKOIDS IN WOODINVILLE WA USA COPYRIGHT 1998 THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC VLZ AND THE RUNNING MAN FIGURE US PATENT NUMBER 29 049 129 e TRIM 9 TRIM TRIM TRIM 12 TRIM TRIM 14 TRIM TRIM 6 IVE AC E A0dBy A0dBy ANC 194 ANC C 5 e C 5 612 5 y 1604 VLZ 12 16 CHANNEL MIC LINE MIXER 05 WITH PREMIUM XDR MIC PREAMPLIFIERS 0 60 0 60 15dB 45dB Sra P E 15dB 45 MBs E HM E jM euh LN LAMP AUX AUX AUX AUX AUX U U U U U U 15 15 15 OO 15 15 15 10 15 EFFECTS U U U U U U MENTORS 15 15 15 15 15 20 15 5 2 AUX S O00000 OG 15 15 15 15 15 15 20 TOSUBS 3 4 Y U U U U U U U CR PHNS OO 15 OO
69. ns All the safety and operation instructions should be read before this Mackie product is operated 2 Retain Instructions The safety and operating instructions should be kept for future reference 3 Heed Warnings All warnings on this Mackie product and in these operating instructions should be followed 4 Follow Instructions All operating and other instructions should be followed 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 wet basement 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 its location or position does not interfere with its proper ventilation For example the Component should not be situated on a bed sofa rug or similar surface that may block any ventilation openings or placed in a built in installation such as a bookcase or cabinet that may impede the flow of air through ventilation openings 8 Heat This Mackie product should be situated away from heat sources such as radiators or other devices which produce heat 9 Power Sources This Mackie product should be connected to a power supply only of the type described in these operation instructions or as marked on this Mackie product 10 Power Cord Protection Power supply cords should be routed so that the
70. nter post and the ground earth or shield to the surrounding basket SLEEVE TIP SLEEVE y Ge p Figure D RCA Plug UNBALANCING A LINE In most studio stage and sound reinforcement situations there is a combination of balanced and unbalanced inputs and outputs on the various pieces of equipment This usually will not be a problem in making connections e When connecting a balanced output to an unbalanced input be sure the signal high hot connections are wired to each other and that the balanced signal low cold goes to the ground earth connection at the unbalanced input most cases the balanced ground earth will also be connected to the ground earth at the unbalanced input If there are ground loop problems this connection may be left disconnected at the balanced end e When connecting an unbalanced output to a balanced input be sure that the signal high hot connections are wired to each other The unbalanced ground earth connection should be wired to the low cold and the ground earth connections of the balanced input If there are ground loop problems try connecting the unbalanced ground earth connection only to the input low cold connection and leaving the input ground earth connection 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 female connected to an unbalanced TS phone plug S
71. o perfectly normal For an even closer look refer to Appendix C 6 PHANTOM LED Located right next to the POWER LED in the output section this 15 just to let you know which way you have the PHANTOM switch set If your dynamic mics work and your condensers don t chances are this LED is off so turn it on You ll notice that when you turn the phan tom power off the LED stays on for a while This is a natural phenomenon the LED is actually a yellow voltmeter telling you that the phantom power takes time to ramp itself down to zero volts So if you ve turned phantom power off to connect something to the mic in puts wait until the yellow LED stops glowing and then make your connections safely LAMP SOCKET Located in the top right corner of the out put section this 12V socket will drive any standard BNC type lamp a Littlite 124 or 12G HI high intensity for instance 1604 VLZ PRO 16 CHANNEL MIC LINE MIXER WITH PREMIUM XDR MIC PREAMPLIFIERS 0O 0 5A OO 15 EFFECTS MONITORS OOO 20 TOSUBS 3 4 2 __ SOLO ex m R fies STEREO AUX RETURN N BY MACKOIDS IN WOODINVILLE WA USA COPYRIGHT 61 7 3 55 7 NN 0000000090009 SZ L Nu 2 Su SZ MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS INC 998 THE FOLLOWING IG ARE TRADEMARKS OF REGISTERED TRADEMARKS OF
72. ommend 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 there that you want to hear and filtering it out makes the low stuff you do want much more crisp and tasty Not only that but low cut can help reduce the possibility of feedback in live situations and it helps to conserve amplifier power With LOW CUT you can safely boost LOW Many times bass shelving eq can really benefit voices Trouble is adding LOW also boosts the subsonic debris Stage rumble mic handling clunks wind noise and breath pops LOW CUT removes all that debris so you can boost the LOW EO without frying your woofer Here s a frequency curve of LOW EQ combined with LOW CUT 15 10 5 20 100 1Ok 20k AUX 1 2 3 amp 4 These four knobs tap a portion of each channel s signal mix them together and send them to the AUX SEND outputs 9 They are off when turned fully down deliver unity gain at the center detent and can provide up to 15dB of gain turned fully up Chances are you ll never need this extra gain but it s nice to know it s there if you do The AUX SEND output are then patched to parallel effects processor inputs 9 or stage monitor amp inputs AUX SENDS 1 and 2 lev els are controlled not only b
73. oost or cut at the center detent position This frequency represents the punch in bass drums bass guitar fat synth patches and some really serious male singers 154 10 OSS Bl os 154 20 100 Ike Used in conjunction with the LOW CUT switch you can boost the LOW EQ without injecting a ton of subsonic debris into the mix We recommend using the LOW CUT feature on all channels except low frequency signals like kick drums and bass guitars The MID or midrange has a fixed bandwidth of 1 5 octaves The MID knob sets the amount of boost or cut up to 15dB and is effectively bypassed at then center detent The frequency knob sets the center frequency sweepable from 100Hz to 8kHz 1Ok 20k 19 TRIM 1 9 0 60 15dB 45dB 20 100 tkie 10 2 15 10 5 0 5 40 45 20 100 tee 20k Most of the root and lower harmonics that define a sound are located in 100Hz 8kHz frequency range and you can create drastic changes with these two knobs Many engineers use MID EO to cut midrange frequencies not boost them One popular trick is to set the MID fully up turn
74. r replacing all potentiometers and switches is covered for the first year after which it is excluded from warranty cover age and may be billed to you This warranty applies only to equipment sold and delivered within the U S by Mackie or its authorized dealers B Failure to register online or return the product registration card will not void the 3 year warranty C Service and repairs of Mackie products are to be performed only at the factory see D below OR at an Authorized Mackie Service Center see E below Unauthorized service repairs or modification will void this warranty D To obtain factory service 1 Call Mackie at 800 258 6883 8AM to 5PM Monday through Friday Pacific Time to get a Return Authorization RA Products returned without 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 for one when you get your RA number and we ll send a shipping carton out promptly More infor mation on packing can be found in the Service section of this manual Do not use packing pea nuts shredded newspapers or other material with small particles old underwear or socks Please seal the Mackie product in a plastic bag 3 Also include a note explaining exactly how to duplicate the problem a copy of the sales receipt with price and date showing and your return street address no P O boxes or route numbers please If we cannot duplicate the problem at th
75. ring and requires a mixing console dedicated to that like the Mackie Each of its channels is actually two chan nels one carrying the mic line sound source and the other carrying the multitrack output AUX SEND OUTPUTS These 74 jacks usually patch to the inputs of your parallel effects devices or to the in puts of your stage monitor amps To learn how signals are routed to these outputs To wire your own cables 0 INPUT OUTPUT OENE MEAO m UTILISE UN FUSIBLE DE RECHANGE DE MEME TYPE TYPE DEANS AVANTE C R OUT BAU BAL 27 R VO SZ INSERT INSERT 22 ZR SZ SZ NS IDED D DESIGNED BY MACKOIDS IN WOODINVILLE USA COPYRIGHT 1998 THE FOLLOWING TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC MACKIE VLZ XDR AND THE AUX SEND BAL UNBAL AUX RNDR RN L O O 22 Ok 5 6 22 NZ LINE LINE RANGE MIC PREAMPLIFIERS ARE PROPI PETRA TOME DESIGN S INC LINE 6 4 LINE 3 LINE 2 LA 22 22 LA 22 BAL BAL BAL BAL BAL UN UN UN UN UN UN 22 22 2 STZ MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 OR Mic PRe OR Mic PRe OR MIC 273 OR Mic 273 OR Pe DIRE T BALUNBAL 1 0000 ING MAN
76. round earth V4 TS PHONE PLUGS AND JACKS TS stands for Tip Sleeve the two connec tions available on a mono V4 phone jack or plug Figure C TS jacks and plugs are used in many different applications always unbal anced The tip is connected to the audio signal and the sleeve to ground earth Some ex amples Unbalanced microphones e Electric guitars and electronic instruments e Unbalanced line level connections ME TIP SLEEVE Figure C TS Plug SWITCHED PHONE JACKS Switches can be incorporated into phone jacks which are activated by inserting the plug These switches may open an insert loop in a circuit change the input routing of the signal or serve other functions Mackie uses switches in the channel insert and bus insert jacks input jacks and AUX returns We also use these switches to ground the line level inputs when nothing is plugged into them most cases the plug must be inserted fully to activate the switch Mackie takes advantage of this in some circuits specifying circumstances where you are to insert the plug only partially See Special Mackie Connections later in this section RCA PLUGS AND JACKS RCA type plugs also known as phono plugs and jacks are often used in home stereo and video equipment and in many other applications Fig ure D They are unbalanced and electrically identical to a TS phone plug or jack See Fig ure C Connect the signal to the ce
77. s the SOLO func tion 9 0 Regardless of the SOURCE matrix selection engaging a SOLO switch will replace that selection with the SOLO signal also sent to the C R OUTS PHONES output and meter display This is what makes the Level Setting Procedure so easy to do amp gt Now you know how to select signals you want to send to the engineer s control room and or phones From there these signals all pass through the same level control aptly named ROOM PHONES As you might expect this knob controls the levels of both the stereo OUTS and PHONES output 9 The control range is from off through unity gain at the detent with 1088 of extra gain when turned fully clockwise When MAIN MIX is your SOURCE selection those signals will now pass through two level controls on the way to your control room amp and headphones the MAIN MIX fader and this CTL ROOM PHONES knob This way you can send a nice healthy level to the MAIN OUT jacks MAIN MIX fader at U and a quieter level to the C R OUTS or PHONES CTL ROOM PHONES knob wherever you like it Whatever your selection you can also use the C R OUTS for other applications Its sound quality is just as impeccable as the MAIN OUT outputs It can be used as additional main mix output and this one will have its own level con trol However should you do this be aware that if you engage a SOLO switch that will int
78. sequently purchase this product within the applicable warranty period J This is your sole warranty Mackie does not authorize any third party including any dealer or sales represen tative to assume any liability on behalf of Mackie Designs or to make any warranty for Mackie Designs K THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE WARRANTY GIVEN BY MACKIE AND IS IN LIEU OF ALL OTHER WARRANTIES EXPRESS AND IMPLIED INCLUDING THE WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE THE WARRANTY GIVEN ON THIS PAGE SHALL BE STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE DATE OF ORIGINAL PUR CHASE FROM AN AUTHORIZED MACKIE DEALER UPON EXPIRATION OF THE APPLI CABLE WARRANTY PERIOD MACKIE SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND MACKIE SHALL NOT BE LIABLE FOR ANY INCIDENTAL SPECIAL OR CONSE QUENTIAL DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE PROD UCT OR ANY WARRANTY CLAIM Some states do not allow exclusion or limitation of incidental special or consequential damages or a limitation on how long warranties last so some of the above limitations and exclusions may not apply to you This warranty provides specific legal rights and you may have other rights which vary from state to state 39 MACKIE 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 6
79. signal levels To feed only one side or the other just turn the PAN knob accordingly If you re doing mixdown to a 2 track sim ply engage the L R switch on each channel that you want to hear and they ll be sent to the MAIN MIX If you want to create a subgroup of certain channels engage either the 1 2 or 3 4 switches instead of the L R and they ll be sent to the appropriate subgroup faders From there the subgroups can be sent back to the MAIN 6 allowing you to use the sub group faders as a master control for those channels 17 TRIM 1 0 159 45dB AUX U If you re printing new tracks or bouncing isting ones you ll also use the 1 2 and 3 4 switches but not the L R switch Here you don t want the subgroups sent back into the MAIN MIX but sent out via the SUB OUTS jacks to your multitrack inputs However if you re printing tracks via the DIRECT OUT jacks all the channel assignment switches should be disengaged up The 1604 VLZ PRO is what we call a true 4 bus mixer Each channel can be assigned or unassigned to any of the subgroups without af fecting the other subgroups or settings within the channel and each subgroup has its own master fader and dedicated output In fact since there are 4 subgroups and the MAIN L R MIX it s actually a true 6 bus mixer We could have named it the CR1606 VLZ Darn SOLO This lovable switch allows yo
80. t learn a thing or two CONTENTS LEVEL SETTING PROCEDURE 3 INSTANT 3 HOOKUP 5 6 CONVERTING TO RACKMOUNT MODE 9 PATCHBAY DESCRIPTION 10 E Z 1 10 Q MIC LINE INPUTS ON EVERY CHANNEL 10 10 D PHANTOM POWER 10 D LINE 11 TRIM oooooo00ssseocccccooosssssscccccosssssssssscee 11 D 1 11 D DIRECT 0 11 D SPLIT MONITORING 12 AUX SEND OUTPUTS 12 D EFFECTS SERIAL OR PARALLEL 13 D AUX RETURN 1 13 SUB OUTS 72 22 222 2 24 4 01 13 6 OUTS CONTROL ROOM OUTPUTS 14 69 PHONES 14 CD TAPE 14 D TAPE 1 14 MAIN 1 15 MAIN 0 7 15 MONO
81. the frequency knob until you find a point where it sounds just terrible then back the MID down into the cut range causing those terrible frequencies to disappear Sounds silly but it works Sometimes The HI EQ provides you up to 15dB boost or cut at 12kHz and it is also flat at the detent Use it to add sizzle to cymbals an overall sense of transparency or an edge to keyboards vocals gui tar and bacon frying Turn it down a little to reduce sibilance or to mask tape hiss 15 10 E 100 16 1Ok 20k With too much EQ you can screw things up royally We ve designed a lot of boost and cut into each equalizer circuit because we know everyone will occasionally need that But if you max the EQ on every channel you ll get mix mush Equalize subtly and use the left sides of the knobs cut as well as the right boost If you find yourself repeatedly using full boost or cut consider altering the sound source such as placing a mic differently trying a different kind of mic changing the strings or gargling 20 LOW CUT The LOW CUT switch often referred to as a high pass filter all depends on how you look at it cuts bass frequencies below 75Hz at a rate of 18dB per octave This ain t no thrown in dime store filter an 18dB per octave curve requires an elaborate circuit Nothing but the best for you We rec
82. to levels Now when you engage any solo switch z DUUM the C R OUTS PHONES output this LED will be a green light to set levels If WM and meter display just as it would you tried to set levels during NORMAL AFL sound to the channel s assign ment switches post EQ post fader and post PAN The only difference is that SOLO works regardless of the channel s OO assignment positions and that makes it really handy you can check out a channel before you assign it NORMAL AFL is the preferred mode dur ing mixdown If the channel has some midrange boost at 4 236 7 is panned smid gen to the left and its fader is at 5 385dB that s exactly what you ll hear if you SOLO dur ing NORMAL AFL mode It s just as if you took the time to MUTE all the other channels LEVEL SET PFL solo is the key player in the all important Level Setting Procedure send the channel s actual internal levels to the meters so you ll know just what s going on level wise This procedure should be performed every time a new sound source is patched into a channel s MIC or LINE input jacks LEVEL SET PFL is also the preferred mode for SR sound reinforcement or live sound to preview channels before they are let into the mix It won t give you stereo placement but will give you signal even if the fader is turned down Remember LEVEL SET PFL taps the chan nel signal before the fader If
83. u ll also find cross references to these num bered features within a paragraph For instance if you see To wire your own cables simply find that number in the manual and you ve found your answer These are not page numbers You ll also notice feature numbers just float ing in space like this These numbers direct you to relevant information This icon marks infor mation that 15 critically important or unique to the 1604 VLZ PRO For your own good read them and remember them They will be on the final test This 1con will lead you to in depth explanations of fea tures and practical tips While not mandatory they ll have some valuable information A PLUG FOR THE CONNECTORS SECTION Appendix is a section on connectors XLR connectors balanced connectors unbal anced connectors special hybrid connectors More resources on our website www mackie com THE GLOSSARY A Haven of Non Techiness For The Neophyte The Glossary of Terms is a fairly compre hensive dictionary of pro audio terms If terms like clipping noise floor or unbalanced leave you blank refer to this glossary for a quick explanation ARCANE MYSTERIES ILLUMINATED Arcane Mysteries discusses some of the down 1 dirty practical realities of microphones fixed installa tions grounding and balanced versus unbalanced lines It s a goldmine for the neophyte and even the seasoned pro migh
84. u to check signals through your PHONES output or C R OUTS without having to assign them to the L R 1 2 or 3 4 mixes You can solo as many channels as you like SOLO does not interrupt any of the other channels buses or outputs that s called nondestructive solo Not only that via the MODE switch the 1604 VLZ PRO s solo system comes in two flavors NORMAL AFL sometimes called SIP or solo in place and LEVEL SET PFL sometimes called PFL or pre fader listen During NORMAL AFL mode the soloed channel s signal is sent directly to the OUTS PHONES output and meter display just as it would sound to the channel s assignment switches post EQ post fader and post PAN The only difference is that SOLO works re gardless of the channel s assignment positions and that makes it really handy you can check out a channel before you assign it NORMAL AFL is the preferred mode dur ing mixdown If the channel has some midrange boost at 4 236 7 is panned smid gen to the left and its fader is at 5 385dB that s exactly what you ll hear if you SOLO dur ing NORMAL AFL mode It s just as if you took the time to MUTE all the other channels LEVEL SET PFL solo is the key player in the all important Level Setting Procedure send the channels actual internal levels to the meters so you ll know just what s going on level wise This procedure should be performed every time a new sound source is patched
85. y are not likely to be walked upon or pinched by items placed upon or against them paying particular attention to cords at plugs convenience receptacles and the point where they exit this Mackie product 11 Object and Liquid Entry Care should be taken so that objects do not fall on and liquids are not spilled into this Mackie product 12 Damage Requiring Service This Mackie product should be serviced only by qualified service personnel when A The power supply cord or the plug has been damaged B Objects have fallen liquid has spilled into this Mackie product or C This Mackie product has been exposed to rain or D This Mackie product does not appear to operate normally or exhibits 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 product beyond those means described in this operating manual All other servicing should be referred to the Mackie Service Department 14 To prevent electric shock do not use this polarized plug with an extension cord receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure Pour pr venir les chocs lectriques ne pas utiliser cette fiche polarise avec un prolongateur un prise de courant ou une autre sortie de courant sauf si les lames peuvent tre ins r es fond sans laisser aucune d couvert
86. y the channel s AUX knobs but also by the AUX SEND mas ter knobs D AUX SENDS can also be used to generate separate mixes for recording or mix minuses for broadcast By using AUX 1 or 2 in the PRE mode 0 these mix levels can be obtained in dependently of a channel s fader settings We recommend going into stereo reverb in mono and returning in stereo We have found that on most stereo reverbs the second input just ties up an extra aux send and adds nothing to the sound There are exceptions so feel free to try it both ways Should you choose to use two aux sends use the odd AUX 1 3 or 5 to feed its left input and the even AUX 2 4 or 6 to feed the right input Remember if you re also dealing with a stereo source signal you ll want to follow the sides use the odd AUX on the channel carrying the left side and the even AUX on the channel carrying the right PRE This switch determines the tap point of AUX 1 and 2 Generally post sends are used to feed effects devices and pre sends are used to feed your stage monitors See the Pre vs Post diagram below AUX 3 through 6 are always in post mode In post mode switch up AUX 1 and 2 will follow the EQ LOW CUT fader and MUTE set tings If you fade the channel you fade the send This is a must for effects sends since you want the levels of your wet signals to follow the level of the dry Pre Vs Post SIGNAL
87. you have a channel s fader set way below U unity gain SOLO wont know that and will send a unity gain signal to the C R OUTS PHONES output and meter display That may result in a star tling level boost at these outputs depending on the position of the SOLO level knob 24 mode the meter display would be at the mercy of the channel fader and that would be a big problem SOLO LEVEL This knob controls the level of the signals coming from the SOLO system It s range is off when fully down unity at the center detent with 10dB additional gain turned fully up After the SOLO level is determined the SOLO signals will proceed to take over the C R OUTS PHONES output and meter display Once again LEVEL SET PFL SOLO taps the channel signal before the fader If you have a channel s fader set way below U unity gain LEVEL SET PFL SOLO won t know that and will send a unity gain signal to the C R OUTS PHONES output and meter display That may result in a startling level boost at these outputs depending on the position of the SOLO level knob RUDE SOLO LIGHT This flashing LED light emitting diode serves two purposes to remind you that you re in SOLO and to let you know that you re mixing on a Mackie No other company is so concerned about your level of SOLO awareness We even force the soloed chan nel s 20 LED to play along so you can find that rogue switch fast If you work on a
88. ype connector usually found on the nether end of what is called a mic cable to connect to a female XLR jack s Figure XLR Connectors V4 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 SLEEVE SLEEVE RING TIP RING TIP SLEEVE Figure 14 TRS Plugs TRS jacks and plugs are used in several different applications e Stereo Headphones and rarely stereo micro phones and stereo line connections When wired for stereo a TRS jack or plug is connected tip to left ring to right and sleeve to ground earth Mackie mixers do not directly accept 1 plug type stereo microphones They must be separated into a left cord and a right cord which are plugged into the two mic preamps 32 You can cook up your own adapter for a stereo microphone adapter Y two cables out of a female TRS jack to two male XLR plugs one for the Right signal and one for the Left e Balanced mono circuits When wired as a balanced connector TRS jack or plug is connected tip to signal high hot ring to signal low cold and sleeve to ground earth e Unbalanced Send Return circuits When wired as send return Y connector a TRS jack or plug is connected tip to signal send output from mixer ring to signal return input back into mixer and sleeve to g
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