Mackie 1642 vlz pro руководство

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Summary of Contents for Mackie 1642-VLZ Pro

1642-VLZ PRO
16-CHANNEL
MIC/LINE MIXER
OWNER’S MANUAL

1642-V LZ PRO

16-CHANNEL MIC/ LINE MIXER

TM

WITH PREMIUM XDR

DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USA

PATENTS PENDING

COPYRIGHT ©1998 • THE FOLLOWING ARE REGISTERED TRADEMARKS OF

MACKIE DESIGN INC.: «MACKIE», «XDR», AND THE «RUNNING MAN» FIGURE

120 VAC 50/60 Hz 40W

1A/250V SLO-BLO

CAUTION:

TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME

TYPE FUSE AND RATING

MIC

MIC

1

2

M

M

I

I

C

C

R

R

P

P

D

D

R

R

X

1

2

3

4

EQ

dB
10

5

U

5

10

20

30

40
50
60

U

+15dB-45dB

LOW CUT

18dB/OCT

AUX

MUTE

OO

X

LINE IN

INSERT

1

—

C

I

M

0

75 Hz

OO

OO

OO

OO

15

—

LR

1

E

BAL
UN
BAL

TRIM

B

d

0

V

G

A

I

N

1

60

U

+15

U

+15

PRE

U

+15

U

+15

U

HI
12k

+15-15

U

MID

+15

800

FREQ

2k200

8k100

U

LOW
80Hz

+15-15

PAN

OL

20

—

SOLO

1

—

2

—

4

3

L/R

REC1REC

—

1

2

3

4

EQ

dB
10

5

U

5

10

20

30

40
50
60

E

LINE IN

BAL
UN
BAL

INSERT

TRIM

d

B

0

V

1

—

G

A

C

I

N

I

2

M

U

60

0

+15dB-45dB

LOW CUT

75 Hz

18dB/OCT

AUX

U

OO

+15

U

OO

+15

PRE

U

OO

+15

U

OO

+15

U

HI
12k

+15-15

U

MID

15

+15

—

800

FREQ

2k200

8k100

U

LOW
80Hz

+15-15

PAN

LR

23

OL

20

—

SOLO

1

—

2

—

4

3

L/R

OO

2

MIC PREAMPLIFIERS

POWERONPHANTOM

MIC

3

M

I

C

R

D

X

LINE IN

—

INSERT

d

B

0

V

1

—

G

A

C

I

N

I

M

U

60

0

+15dB-45dB

LOW CUT

75 Hz

18dB/OCT

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

3

OO

+15

U

4

OO

+15

EQ

U

+15-15

U

15

+15

—

800

8k100

U

+15-15

LR

MUTEMUTE

dB
10

5

U

5

10

20

30

40
50
60

OO

STEREO

PLUG

TIP OUT TO EFFECTS DEVICE
RING RETURN FROM EFFECTS

FOR USE AS AN EFFECTS LOOP

DIRECT OUT WITH SIGNAL

(TIP = SEND, RING = RETURN)

INTERRUPTION TO MASTER

MAIN OUTS

L

+4

ON

MIC

R

MAIN

OUTPUT

LEVEL

MIC

MIC

4

5

M

M

I

I

C

C

R

P

R

E

BAL
UN

—

BAL

TRIM

3

HI

12k

MID

FREQ

2k200

LOW
80Hz

PAN

OL

20

—

SOLO

1

—

2

—

4

3

L/R

TRACK

1

R

P

P

D

D

R

R

X

X

E

E

LINE IN

LINE IN

BAL

BAL

UN

UN

—

BAL

BAL

INSERT

TRIM

TRIM

d

B

B

0

V

V

1

—

G

A

A

C

I

I

N

N

I

4

5

M

U

60

60

0

+15dB-45dB

LOW CUT

75 Hz

18dB/OCT

AUX

U

1

OO

+15

+15

U

2

OO

+15

+15

PRE

U

3

OO

+15

+15

U

4

OO

+15

+15

EQ

U

HI

HI

12k

12k

+15-15

+15-15

U

MID

MID

15

+15

+15

—

800

FREQ

FREQ

2k200

2k200

8k100

8k100

U

LOW

LOW

80Hz

80Hz

+15-15

+15-15

PAN

PAN

LR

5

MUTE6MUTE7MUTE8MUTE

OL

OL

dB
10

5

20

20

—

—

U

SOLO

SOLO

5

10

1

1

—

2

—

2

20

—

4

—

4

3

3

30

40
50

L/R

L/R

60

OO

TRACK

TRACK

3

2

1

2

3

4

EQ

dB
10

5

U

5

10

20

30

40
50
60

U

AUX

OO

INSERT

0

1

—

C

I

M

0

+15dB-45dB

LOW CUT

75 Hz

18dB/OCT

OO

OO

OO

OO

15

—

LR

4

MUTE

d

G

U

U

PRE

U

U

U

U

800

U

—

U

AUX

1

2

3

4

EQ

dB
10

5

U

5

10

20

30

40
50
60

OO

MONO PLUG

INSERT ALL THE WAY IN TO

THE «SECOND CLICK»

MONO

(BAL/UNBAL)

MIC

6

M

I

C

R

P

D

X

LINE IN

INSERT

d

B

0

V

1

—

G

A

C

I

N

I

M

60

0

+15dB-45dB

LOW CUT

75 Hz

18dB/OCT

U

OO

+15

U

OO

+15

PRE

U

OO

+15

U

OO

+15

U

+15-15

U

15

+15

—

800

2k200

8k100

U

+15-15

LR

U

OO

LEVEL

R

E

TRIM

12k

MID

FREQ

LOW
80Hz

PAN

OL

20

—

SOLO

1

—

3

L/R

TRACK

4

+6

BAL
UN

—

BAL

6

HI

—

2

4

MONO PLUG

DIRECT OUT WITH NO SIGNAL

INTERRUPTION TO MASTER

MAIN

(BAL/UNBAL)

MIC

M

I

C

R

D

X

LINE IN

INSERT

d

B

0

V

1

—

G

A

C

I

N

I

M

U

60

0

+15dB-45dB

LOW CUT

75 Hz

18dB/OCT

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

3

OO

+15

U

4

OO

+15

EQ

U

+15-15

U

15

+15

—

800

8k100

U

+15-15

LR

dB
10

5

U

5

10

20

30

40
50
60

OO

INSERT ONLY INTO THE

«FIRST CLICK»

AUX SENDS

(BAL/UNBAL)

L

R

7

P

R

E

BAL
UN
BAL

TRIM

7

HI

12k

MID

FREQ

2k200

LOW
80Hz

PAN

OL

20

—

SOLO

1

—

2

—

4

3

L/R

TRACK

5

MAIN INSERT

(TIP SEND

RING RETURN)

—

U

+15dB-45dB

LOW CUT

18dB/OCT

AUX

1

2

3

4

EQ

—

dB
10

5

U

5

10

20

30

40
50
60

OO

MIC

M

R

D

X

LINE IN

INSERT

d

B

0

1

—

G

A

C

I

M

0

75 Hz

U

OO

+15

U

OO

+15

PRE

U

OO

+15

U

OO

+15

U

+15-15

U

15

+15

800

U

+15-15

LR

CAUTION

RISK OF ELECTRIC SHOCK

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

8

4321

C-R OUTS

(BAL/UNBAL)

L

L

R

R

MIC

8

9-10

M

I

I

C

C

R

P

P

D

R

R

X

E

E

LINE IN 9

BAL

BAL

UN

UN

—

L

BAL

BAL

LINE IN 10

R

TRIM

TRIM

V

G

A

C

I

I

N

N

I

8

9

M

10

60

60

0

LOW CUT

75 Hz

18dB/OCT

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

3

OO

+15

U

4

OO

+15

EQ

U

HI

HI

12k

12k

+15-15

U

HI

MID

MID

3K

15

+15

—

U

LOW

FREQ

2k200

MID

800Hz

15

+15

8k100

—

U

LOW

LOW

80Hz

80Hz

+15-15

PAN

PAN

LR

9-10

MUTE

OL

OL

dB
10

5

20

20

—

—

U

SOLO

SOLO

5

10

1

1

—

2

—

2

20

—

4

—

4

3

3

30

40
50

L/R

L/R

60

OO

TRACK

TRACK

7

6

WARNI NG:

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

DO NOT OPEN

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

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

DIRECT OUTS

—

AUX

1

2

3

4

EQ

13-14

dB
10

5

U

5

10

20

30

40
50
60

OO

LEFT

RIGHT

U

+20

-20

U

OO

+15

U

OO

+15

PRE

U

OO

+15

U

OO

+15

U

+15-15

U

+15

15

—

U

15

+15

—

U

+15-15

LR

MUTE

(BAL/UNBAL)

4

8

TAPEINTAPE

OUT

MONOMONOMONO

13

LEFT

BAL/

UNBAL

14

RIGHT

TRIM

U

13

14

-20

AUX

U

1

O

O

U

2

OO

PRE

U

3

OO

U

4

OO

EQ

U

HI

12k

U

HI

MID

3K

15

—

U

LOW
MID
800Hz

15

—

U

LOW
80Hz

PAN PAN

LR

15-1 6

MUTE

OL

dB
10

5

20

—

U

SOLO

5

10

1

—

2

20

—

4

3

30

40
50

L/R

60

OO

1

L

RLR

LAMP

LEFT

RIGHT

PHONES

MONO

15

LEFT

BAL/

UNBAL

16

RIGHT

AUX SEND

TRIM

15
16

1

+20

2

+15

1

+15

2

PHAN

+15

+15

PHONES

HI
12k

+15-15

CONTROL ROOM

HI

MID

3K

+15

SUBS 1–2

LOW
MID

800Hz

+15

SUBS 3

LOW
80Hz

MAIN MIX

+15-15

CR SOURCE

OL

dB

10

5

20

—

U

SOLO

5

10

1

—

2

20

—

4

3

30

40
50

L/R

60

OO

B

7654321

SUB OUTS

(BAL/UNBAL)

1

52637

MIC

11-12

M

I

C

R

P

D

R

X

E

LINE IN 11 LINE IN LINE IN

BAL
UN

—

L

BAL

LINE IN 12

R

TRIM

G

A

C

I

N

I

11

M

12

60

0

LOW CUT

75 Hz

18dB/OCT

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

3

OO

+15

U

4

OO

+15

EQ

U

HI

12k

+15-15

U

HI

MID

3K

15

+15

—

U

LOW
MID

800Hz

15

+15

—

U

LOW
80Hz

+15-15

PAN

LR

11- 12

MUTE

OL

dB
10

5

20

—

U

SOLO

5

10

1

—

2

20

—

4

3

30

40
50

L/R

60

OO

TRACK8EFXAEFX

MANUFACTURING DATE

SERIAL NUMBER

AUX RETURN

(BAL/UNBAL)

234

LRL

(MONO)(MONO)(MONO)(MONO)

1642-VL ZPRO

16-CHANNEL MIC/ LINE MIXER

TM

WITH PREMIUM XDR

12V

0.5A

MIC PREAMPLIFIERS

A

B

EFFECTS TO MONITORS

U

U

1

1

OO

OO

+20

+10

U

U

2

2

OO

OO

+20

+10

U

ASSIGN OPTIONS

3

SOLO

SOLO

PWR

MAX

OO

MAX

OO

TAPE

LEFT

RIGHT

1526374

–

4

4

MAIN MIX

NORMAL
LEVEL SET

LEFT

RIGHT

OO

+20

U

C-R / PHNS

OO

+20

STEREO AUX RETURN

U

OO

+20

TAPE IN

TAPE TO

OO

MAX

SOLO

LEVEL

MODE

(AFL)
(PFL)

LEFT

LEFT

RIGHT

RIGHT

MAIN MIX
TO SUBS

SET

8

ONLY

R

U

OO

+15

U

OO

+15

RUDE SOLO LIGHT

dB

10

5

U

5

10

20

30

40
50
60

1
3

RETURNS

SOLO

LEFT RIGHT
0 dB=0 dBu

MAIN

MIX

OO

TO AUX
SEND 1

TO AUX
SEND 2

–

2

–

4

28

10

7

4

2

0

2

4

7

10

20

30

CAUTION AVIS

RISK OF ELECTRIC

RISQUE DE

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK

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

The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
«dangerous voltage» within the product’s enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l’intérieur d’un triangle
équilatéral est utilisé pour alerter l’utilisateur de la présence à
l’intérieur du coffret de «voltage dangereux» non isolé d’ampleur
suffisante pour constituer un risque d’éléctrocution.

The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.

Le point d’exclamation à l’intérieur d’un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d’instructions
importantes pour le fonctionnement et l’entretien (service) dans le
livret d’instruction accompagnant l’appareil.

DO NOT OPEN

CHOC

NE PAS OUVRIR

DO NOT REMOVE COVER (OR BACK)

A LA PLUIE OU A L’HUMIDITE

SHOCK

ELECTRIQUE

SAFETY INSTRUCTIONS

1. Read Instructions — 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
they 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; or

B. Objects have fallen, or 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 a marked change in performance; or

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

13 . Servicing — The user should not attempt to service this Mackie 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 prévenir les chocs électriques ne pas utiliser cette fiche polariseé avec un
prolongateur, un prise de courant ou une autre sortie de courant, sauf si les
lames peuvent être insérées à fond sans laisser aucune pariie à découvert.

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 of the Canadian Department of Communications.

ATTENTION —Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils numériques de
class A/de class B (selon le cas) prescrites dans le règlement sur le brouillage
radioélectrique édicté 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 noise-induced 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 against potentially dangerous exposure to
high sound pressure levels, it is recommended that all persons exposed to equip­ment 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
a permanent hearing loss if exposure is in excess of the limits set forth here.

Duration Per Day Sound Level dBA, Typical

In Hours Slow Response Example

8 90 Duo in small club
692
4 95 Subway Train
397
2 100 Very loud classical music

1.5 102
1 105 Tami screaming at Adrian about deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

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

2

READ THIS PAGE!!!

We realize that you must have a powerful
hankerin’ to try out your new 1642-VLZ
Or you might be one of those people who
never reads manuals. Either way, all we ask
is 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.

PRO.

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 necessary to hear what you’re do­ing to set optimal levels. But if you’d like to: Plug
headphones into the
then set the
ter of the way up.

The following steps must be performed one

channel at a time:

1. Turn the
controls fully down.

2. Be sure the
assignment switches are all disengaged.

3. Set the

4. Connect the signal source to the

LINE

5. Engage (push in) the channel’s
switch.

6. Push in the
section (

LEVEL SET

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

8. Adjust the
display on the meter stays around “0.”
(Only the left meter is active in the
Level-Setting Procedure.)

9. If you’d like to apply some
now and return to the previous step.

10. Disengage that channel’s
11 . Repeat for each channel.

PHONES

EQ

channel input.

PHONES

knob about one-quar-

TRIM, AUX

1–2, 3–4

knobs at the center detents.

MODE

switch in the output

LEVEL SET (PFL)

LED will light.

TRIM

control so that the

output jack,

send and fader

and

L/R

channel

MIC

SOLO

mode) — the

EQ

, do so

SOLO

switch.

or

Other Nuggets of Wisdom

For optimum sonic performance, the channel
faders and the
near the “

Always turn down the
CONTROL ROOM
making connections to your 1642-VLZ

If you shut down your equipment, turn off
your amplifiers first. When powering up, turn
on your amplifiers last.

Save the shipping box! You may need it
someday, and you don’t want to have to pay for
another one.

MAIN MIX

U

” (unity gain) markings.

fader should be set

MAIN MIX

and

PHONES

fader and

knobs before

PRO.

INSTANT MIXING

Here’s how to get going
right away, assuming you own
a microphone and a keyboard:

1. Plug your microphone into Channel 1’s

MIC

input.

2. Turn on the 1642-VLZ

3. Perform the Level-Setting Procedure .

4. Connect cords from the

to your amplifier.

5. Hook up speakers to the amp and turn it on.

6. Set channel 1’s fader to the “ U” mark.

7. Engage (push in) Channel 1’s

8. Set the

the way up.

9. Sing like a canary!

10. Plug your keyboard into channels 3 and 4.

11. Turn channel 3’s

channel 4’s

12 . Set those faders to the “U” mark.
13 .

Perform the Level-Setting Procedure .

14 .

Engage the

15 . Play like a madman and sing like a canary!

It’s your first mix!

MAIN MIX

PAN

L/R

PRO.

MAIN OUT

fader one-quarter of

PAN

knob fully left and

knob fully right.

switch on these channels.

L/R

jacks

switch.

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

Purchased at:

Part No. 0006983-90 Rev. A1 06/03

©2003 Mackie Designs Inc. All Rights Reserved.

Date of purchase:

3

INTRODUCTION

Thank you for choosing a Mackie Designs
professional compact mixer. The 1642-VLZ PRO
is equipped with our new precision-engineered

TM

Extended Dynamic Range premium mic

XDR
preamps featuring:

• Full gain range from 0 to 60dB

• +22 dBu line signal handling capability

• 130 dB dynamic range

• Distortion less than 0.0007%, 20Hz to 20kHz

• Bullet-proof RF rejection using DC pulse
transformer circuitry

Now that you have your 1642-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

MIC

3

M

I

C

R

D

X

LINE IN

INSERT

B

d

V

0

1

—

G

A

C

I

I

N

M

U

60

0
+15dB- 4 5dB

LOW CUT

75 Hz
18dB/OCT

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

3

OO

+15

U

4

OO

+15

EQ

U

+15-15

U

15

+15

—

800

8k100

U

+15-15

LR

MUTEMUTE4MUTE

dB
10

5

U

5

10

20

30

40
50
60

OO

P

R

E

TRIM

12k

MID

FREQ

2k200

LOW
80Hz

PAN

OL

20

—

SOLO

1

3

L/R

1

PRO immediately, the first pages

PRO will be

MIC

MIC

MIC

MIC

MIC

MIC

4

5

M

M

I

I

C

C

R

R

P

P

D

D

R

R

X

X

E

E

LINE IN

LINE IN

BAL

BAL

BAL

UN

UN

UN

—

—

—

BAL

BAL

BAL

INSERT

INSERT

PATCHBAY

TRIM

TRIM

B

B

d

d

V

V

0

0

1

1

—

—

G

G

A

A

C

C

I

I

I

I

N

N

3

4

5

M

M

U

U

U

60

60

0

0

+15dB- 4 5dB

+15dB- 4 5dB

+15dB- 4 5dB

LOW CUT

LOW CUT

LOW CUT

75 Hz

75 Hz

18dB/OCT

18dB/OCT

18dB/OCT

AUX

AUX

AUX

U

U

1

1

1

OO

OO

+15

+15

U

U

2

2

2

OO

OO

+15

+15

PRE

PRE

U

U

3

3

3

OO

OO

+15

+15

U

U

4

4

4

OO

OO

+15

+15

EQ

EQ

EQ

U

U

HI

HI

HI

12k

12k

+15-15

+15-15

U

U

HI

HI

HI

MID

MID

3K

3K

3K

15

15

+15

+15

—

—

—

800

800

FREQ

FREQ

2k200

2k200

8k100

8k100

U

U

LOW

LOW

80Hz

80Hz

+15-15

+15-15

PAN

PAN

LR

LR

5

MUTE6MUTE7MUTE8MUTE

OL

OL

dB

dB

dB

10

10

10

5

5

5

20

20

—

—

U

U

U

SOLO

SOLO

5

5

5

10

10

10

1

1

—

2

—

2

—

2

20

20

20

—

4

—

4

—

4

3

3

30

30

30

40

40

40

50

50

50

L/R

L/R

60

60

60

OO

OO

OO

6

7

M

M

I

I

C

C

R

R

P

P

D

D

R

R

X

X

E

E

LINE IN

LINE IN

BAL
UN

—

BAL

INSERT

INSERT

TRIM

TRIM

B

B

d

d

V

V

0

0

1

1

—

—

G

G

A

A

C

C

I

I

I

I

N

N

6

M

M

U

60

60

0

0
+15dB- 4 5dB

LOW CUT

75 Hz

75 Hz

18dB/OCT

AUX

U

U

1

OO

OO

+15

+15

U

U

2

OO

OO

+15

+15

PRE

PRE

U

U

3

OO

OO

+15

+15

U

U

4

OO

OO

+15

+15

EQ

U

U

HI

12k

+15-15

+15-15

U

U

HI

MID

3K

15

15

+15

+15

—

800

800

FREQ

2k200

2k200

8k100

8k100

U

U

LOW
80Hz

+15-15

+15-15

PAN

PAN

LR

LR

OL

dB
10

5

20

—

U

SOLO

SOLO

5

10

1

—

2

20

—

4

3

30

40
50

L/R

60

OO

MIC

8

9-10

11-12

M

M

M

I

I

I

C

C

C

R

R

R

P

P

P

D

D

D

R

R

R

X

X

X

E

E

E

LEFT

BAL
UN

—

BAL

TRIM

8

HI
12k

HI
MID
3K

FREQ

LOW
80Hz

PAN

OL

20

—

SOLO

1

—

2

—

4

3

L/R

LINE IN 9

L

LINE IN 10

R

B

d

V

0

1

—

G

A

C

I

I

N

M

U

60

0
+15dB- 4 5dB

LOW CUT

75 Hz
18dB/OCT

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

3

OO

+15
U

4

OO

+15

EQ

U

+15-15

U

15

+15

—

U

+15-15
U

+15-15

LR

9-10

MUTE

dB
10

5

U

5

10

20

30

40
50
60

OO

LINE IN 11 LINE IN LINE IN

BAL

BAL

UN

UN

—

—

L

BAL

BAL

LINE IN 12

R

TRIM

TRIM

B

d

V

0

1

—

G

A

C

I

I

N

9

11

M

U

10

12

60

0
+15dB- 4 5dB

LOW CUT

75 Hz

18dB/OCT

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

3

OO

+15
U

4

OO

+15

EQ

U

HI

HI

12k

12k

+15-15
U

HI

HI

MID

MID

3K

3K

15

+15

—

U

LOW

LOW

MID

MID

800Hz

800Hz

+15-15
U

LOW

LOW

80Hz

80Hz

+15-15

PAN

PAN

LR

11-12

MUTE

OL

OL
dB
10

5

20

20

—

—

U

SOLO

SOLO

5

10

1

1

—

2

—

2

20

—

4

—

4

3

3
30

40
50

L/R

L/R
60

OO

TRACK8EFXAEFX

TRACK7TRACK6TRACK5TRACK4TRACK3TRACK2TRACK

RIGHT

-20

AUX

1

2

3

414

EQ

15

—

15

—

13-14

MUTE

dB
10

5

U

5

10

20

30

40
50
60

OO

LINE IN

BAL
UN

—

BAL

INSERT

B

d

V

0

1

—

G

A

C

I

I

N

7

M

U

60

0
+15dB- 4 5dB

LOW CUT

75 Hz

18dB/OCT

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

3

OO

+15

U

4

OO

+15

EQ

U

HI

12k

+15-15

U

HI
MID
3K

15

+15

—

800

FREQ

2k200

8k100

U

LOW
80Hz

+15-15

LR

OL

dB
10

5

20

—

U

5

10

1

—

2

20

—

4

3

30

40
50

L/R

60

OO

U

+20

U

OO

+15

U

OO

+15

PRE

U

OO

+15

U

OO

+15

U

+15-15

U

+15

U

+15

U

+15-15

LR

TAPEINTAPE

MONO

13

LEFT

BAL/

UNBAL

14

RIGHT

TRIM

13
14

AUX

2

3

EQ

HI

HI

MID

3K

LOW
MID

800Hz

LOW
80Hz

PAN PAN

15-16

OL

dB
10

5

20

—

U

SOLO

5

10

1

—

2

20

—

4

3

30

40
50

L/R

60

OO

OUT

-20

15

—

15

—

MUTE

LEFT

RIGHT

MONO

15

LEFT

BAL/

UNBAL

16

RIGHT

TRIM

U

+20

U

O

O

+15

U

OO

+15

PRE

U

OO

+15

U

OO

+15

U

+15-15

U

MID

+15

U

LOW
MID
800Hz

+15

U

LOW
80Hz

+15-15

LR

OL

20

—

SOLO

1

—

—

3

L/R

B

15
16

12kHI12k

HI

3K

2

4

LAMP

PHONES

AUX SEND

U

1

OO

+10

U

2

OO

+10

1

SOLO

2

SOLO

PWR

PHAN

MAX

OO

PHONES

MAX

OO

CONTROL ROOM

TAPE

SUBS 1–2

SUBS 3

MAIN MIX

SOURCE

LEFT

RIGHT

1526374

dB

10

5

U

5

10

20

30

40
50
60

OO

1642-VL ZPRO

16-CHANNEL MIC/LINE MIXER

TM

WITH PREMIUM XDR

MIC PREAMPLIFIERS

12V

0.5A

A

B

EFFECTS TO MONITORS

U

U

1

1

OO

OO

+20

+15

U

U

2

2

OO

OO

+15

+20

U

ASSIGN OPTIONS

3

MAIN MIX

OO

+20

TO SUBS

U

4

C-R / PHNS

OO

+20

ONLY

STEREO AUX RETURN

U

OO

+20

TAPE IN

OUTPUT

TAPE TO

MAIN MIX

OO

MAX

SECTION

SOLO

LEVEL

MODE

SET

–

4

NORMAL

(AFL)
(PFL)

LEVEL SET

RUDE SOLO LIGHT

LEFT

LEFT

LEFT

RIGHT

RIGHT

RIGHT

8

10

20

30

40
50
60

TO AUX
SEND 1

TO AUX
SEND 2

–

1
3–4

RETURNS

SOLO

LEFT RIGHT
0 dB=0 dBu

MAIN

MIX

dB

10

5

U

5

OO

your 1642-VLZ
you will encounter after the table of contents are
the ever popular hookup diagrams. These show
typical mixer setups for Record/Mixdown, Video,
Stereo PA and a fixed installation. After this sec­tion is a detailed tour of the entire mixer.

Every feature of the 1642-VLZ
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 along on the

top edge and the rear panel

2. CHANNEL STRIP: The channel strips on

the left.

3. OUTPUT SECTION: The output section on

the right.

MIC

MIC

1

2

M

M

I

I

C

C

R

R

P

P

D

D

R

R

X

X

E

E

LINE IN

LINE IN

BAL

BAL

UN

UN

—

—

BAL

BAL

INSERT

INSERT

TRIM

TRIM

B

B

d

d

V

V

0

0

1

1

—

—

G

G

A

A

C

C

I

I

I

I

N

N

1

2

M

M

U

U

60

60

0

0

+15dB- 4 5dB

+15dB- 4 5dB

LOW CUT

LOW CUT

75 Hz

75 Hz

18dB/OCT

18dB/OCT

AUX

AUX

U

U

1

1

OO

OO

+15

+15

U

U

2

2

OO

OO

+15

+15

PRE

PRE

U

U

3

3

OO

OO

+15

+15

U

U

4

4

OO

OO

+15

+15

EQ

EQ

U

U

HI

HI

12k

12k

CHANNEL STRIPS

+15-15

+15-15

U

U

HI

HI

MID

MID

3K

3K

15

15

+15

+15

—

—

800

800

FREQ

FREQ

2k200

2k200

8k100

8k100

U

U

LOW

LOW

80Hz

80Hz

+15-15

+15-15

PAN

PAN

LR

LR

1

23

MUTE

OL

OL

dB

dB

10

10

5

5

20

20

—

—

U

U

SOLO

SOLO

5

5

10

10

1

1

—

2

—

2

20

20

—

4

—

4

3

3

30

30

40

40

50

50

L/R

L/R

60

60

OO

OO

Whenever a specific 1642-VLZ

PRO compo­nent is mentioned, it’ll be in all capital letters
sans-serif type. That can help you find refer­ences to specific controls much faster, without
slowing you down as you read normally. For ex­ample: The quick brown fader jumped over the

RUDE SOLO LIGHT

.

Throughout these chapters you’ll find illus­trations, with each feature numbered. If you’re
curious about a feature, simply locate it on the
appropriate illustration, note the number at­tached to it, and find that number in the nearby
paragraphs or refer to the table of contents.

You’ ll also find cross-references to these num­bered 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 information
that is critically important or
unique to the 1642-VLZ
For your own good, read them
and remember them. They will
be on the final test.
This icon will lead you to in­depth explanations of features
and practical tips. While not
mandatory, they’ll have some
valuable information.

A PLUG FOR THE CONNECTORS SECTION

The Appendix gives details about connectors:
XLR connectors, balanced connectors, unbal­anced connectors and special hybrid
connectors.

RACK MOUNTING

Optional rack ears are available which allow
the 1642-VLZ PRO to be fitted in a standard 19″
rack. This will take up a height of 12 rack
spaces (including enough room to make the

2

connections). Contact your Mackie dealer for

28

more details.

10

7

4

2

0

2

4

7

10

20

30

PRO.

4

CONTENTS

LEVEL-SETTING PROCEDURE ………………………. 3

INSTANT MIXING …………………………………….. 3

HOOKUP DIAGRAMS ………………………………… 6

PATCHBAY DESCRIPTION …………………………. 10

E-Z INTERFACING ……………………………. 10

MIC/LINE INPUT FLEXIBILITY …………….. 10

MIC INPUTS …………………………………… 10

PHANTOM POWER DISCUSSION …………. 10

LINE INPUTS …………………………………… 11

TRIM…………………………………………….. 11

INSERT ………………………………………….. 11

DIRECT OUT……………………………………. 12

RECORDING …………………………………… 12

AUX SEND OUTPUTS ………………………… 12

EFFECTS: SERIAL OR PARALLEL? …………. 13

AUX RETURN INPUTS……………………….. 13

SUB OUTS ……………………………………… 13
C-R OUTS (CONTROL ROOM OUTPUTS) .. 14

PHONES OUTPUT …………………………….. 14

TAPE OUTPUT …………………………………. 14

TAPE INPUT ……………………………………. 14

MAIN INSERT …………………………………. 14

MAIN OUTS ……………………………………. 14

MONO OUTPUT ………………………………. 15

MONO LEVEL ………………………………….. 15

POWER CONNECTION ………………………. 15

FUSE …………………………………………….. 15

POWER SWITCH ……………………………… 15

POWER LED ……………………………………. 16

PHANTOM SWITCH ………………………….. 16

PHANTOM LED ……………………………….. 16

BNC LAMP SOCKET ………………………….. 16

CHANNEL STRIP DESCRIPTION ………………….. 17

“U” LIKE UNITY GAIN ………………………. 17

FADER …………………………………………… 17

ASSIGN (1-2, 3-4, L/R) ……………………. 17

SOLO ……………………………………………. 18

–20 (SOLO) LED………………………………. 18

OL (MUTE) LED ……………………………….. 18

MUTE ……………………………………………. 19

PAN ……………………………………………… 19

3-BAND MID-SWEEP EQ …………………….19

4-BAND FIXED FREQUENCY EQ …………… 20

LOW CUT……………………………………….. 20

AUX 1, 2, 3, 4 ………………………………… 21

PRE ………………………………………………. 21

OUTPUT SECTION DESCRIPTION ………………… 22

MAIN MIX FADER ……………………………. 22

VLZ MIX ARCHITECTURE …………………… 22

SUB FADERS …………………………………… 22

ASSIGN TO MAIN MIX ……………………… 22

TAPE IN (LEVEL)………………………………. 23

TAPE TO MAIN MIX …………………………. 23

CR SOURCE ……………………………………. 23
CONTROL ROOM AND PHONES CONTROLS . 23
MODE (NORMAL (AFL)/LEVEL SET (PFL)).. 24

LEVEL SET LED ………………………………… 24

SOLO (LEVEL) …………………………………. 24

RUDE SOLO LIGHT …………………………… 24

METERS…………………………………………. 25

AUX DISCUSSION ……………………………. 25

AUX SEND (MASTER) ……………………….. 25

AUX SENDS SOLO ……………………………. 26

AUX RETURNS (LEVEL) ……………………… 26

EFFECTS TO MONITORS …………………….. 26

MAIN MIX TO SUBS (AUX RET 3) ……….. 26

1-2/3-4 (AUX RET 3) ………………………. 26

C-R/PHNS ONLY (AUX RET 4) ……………. 27

RETURNS SOLO ………………………………. 27
1642-VLZ

GAIN STRUCTURE DIAGRAM …………………………… 29

SPECIFICATIONS …………………………………………… 30

SERVICE INFO……………………………………………….31

APPENDIX A: CONNECTIONS …………………………… 32

TRACK SHEET ………………………………………………. 36

COLOPHON …………………………………………………. 38

1642-VLZ PRO LIMITED WARRANTY………………… 39

PRO BLOCK DIAGRAM …………………….. 28

5

HOOKUP DIAGRAMS

In

8 Track Recorder

From Mics, Keys,
Drum machines

etc.

Out

123459-1011-12

CHANNEL INPUTS

BAL/UNBAL

MAIN OUT

LR L R

MONO

(See the diagram below which
shows how to wire Insert plugs)

CHANNEL INSERTS

1
2

BAL/UNBAL

DIRECT OUT

3

BAL/UNBAL

AUX SENDS

4

Stereo Compressor

EFX A

EFX B

Stereo Processor

Powered Monitors

Cassette Recorder

Headphones

MAIN

INSERT

AUX RETURNS

IN

TAPE

OUT

TAPE

C/R OUT

BAL/UNBAL

BAL/UNBAL

SUB OUTS

OUT

PHONES

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

ring

tip

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

sleeve

(TRS plug)

SEND to processor

RETURN from processor

“tip”

“ring”

1642-VLZ PRO 8-Track Tracking

6

Keyboard

Video
Decks

Stereo Compressor

CHANNEL INSERTS

CHANNEL INPUTS

Multi-VCR
Video Switcher

Computer
with Audio Card

CD Player

Video

Master

Powered
Monitors

in

Headphones

LR L R

MONO

BAL/UNBAL

MAIN OUT

MAIN

INSERT

IN

TAPE

OUT

TAPE

C/R OUT

BAL/UNBAL

BAL/UNBAL

SUB OUTS

OUT

PHONES

BAL/UNBAL

DIRECT OUT

BAL/UNBAL

AUX SENDS

AUX RETURNS

1642-VLZ PRO Video setup

7

Mic 1-5

Guitar

Turntable

Bass

Keyboard

Drum

Machine

Active

PA Speaker/

Subwoofer

combination

(Pole-mounted

SRM450s and

SRS1500 active

Subwoofers

pictured)

Guitar

Mono Effects

Stereo Effects

Phono preamp

stereo source

Additional

Stereo Processor

CD Player

LR L R

MONO

MAIN OUT

MAIN

INSERT

IN

TAPE

OUT

TAPE

CHANNEL INSERTS

CHANNEL INPUTS

BAL/UNBAL

DIRECT OUT

BAL/UNBAL

AUX SENDS

BAL/UNBAL

AUX RETURNS

Stereo Compressors

Mono EQs, M-1400i Amps,

and (C300) Passive Stage Monitors

Processor

Processor

C/R OUT

BAL/UNBAL

SUB OUTS

OUT

PHONES

Digital Multitrack

Recorder

Headphones

1642-VLZ PRO Stereo P.A.

8

Mic 1-5

SRM 450s or other

powered monitors

HR824s or other

powered monitors

Guitar

Direct Box

Drum Machine

CD Player

VCR

Keyboard

Stereo Processor

Cassette Recorder

LR L R

MONO

MAIN OUT

MAIN

INSERT

IN

TAPE

OUT

TAPE

C/R OUT

BAL/UNBAL

CHANNEL INSERTS

CHANNEL INPUTS

BAL/UNBAL

DIRECT OUT

BAL/UNBAL

AUX SENDS

BAL/UNBAL

AUX RETURNS

Mono EQs, M-1400i Amps,

and (C300) Passive Stage Monitors

Processor

70 Volt Line Amp

Assistive Listening
Transmitter

Monitors on distributed system throughout building

BAL/UNBAL

Multitrack Recorder

Headphones

SUB OUTS

OUT

PHONES

1642-VLZ PRO Church Installation

9

PATCHBAY DESCRIPTION

At the risk of stating the obvious, this is
where you plug everything in: microphones,
line-level instruments and effects, and the ulti­mate destination for your sound: a tape
recorder, PA system, etc. Many of the features
described in this section are on top of the
mixer, but some are on the rear panel.

E-Z INTERFACING

Concerned about levels,
balancing, impedances, po­larity, or other interface
goblins? Don’t be. On your

1642-VLZ

PRO, you can patch anything almost

anywhere, with nary a care. Here’s why:

• Every input and output is balanced

(except inserts, phones and RCA jacks).

• Every input and output will also accept

unbalanced lines (except XLR jacks).

• Every input is designed to accept virtually

any output impedance.

• The main left and right mix outputs can

deliver 28dBu into as low as a 600 ohm load.

• All the other outputs can deliver 22dBu

into as low as a 600 ohm load.

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

Procedure

every time you patch in a new

sound source. So stop worrying and start mixing!

MIC AND LINE INPUT FLEXIBILITY

Channels 1-8 are mono channels with

and

LINE

inputs, featuring our new XDR Ex­tended Dynamic Range mic preamp circuitry.
Channels 9-10 and 11-12 are stereo pairs with

LINE

left and right

inputs and a single

put feeding each pair. Channels 13-14 and

LINE

15-16 are stereo pairs with

inputs only.

MIC

MIC

in-

MIC INPUTS

We use phantom-powered, balanced micro­phone inputs just like the big studio mega­consoles, for exactly the same reason: This
kind of circuit is excellent at rejecting hum

and noise. You can plug in almost any kind of
mic that has a standard XLR-type male mic
connector. Always be sure to perform the
Level-Setting Procedure
nals are routed from these inputs:

. To learn how sig-

. If you

wire your own, connect them like this:

COLD

COLD

2

HOT

1

3

1

3

2

HOT

3

SHIELD

1

COLD

2

HOT

SHIELD

SHIELD

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 inputs. The 1642-VLZ

PRO’s mic inputs
will handle almost any kind of mic level you
can toss at them, without overloading.

A WORD ABOUT 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 1642-VLZ
power is globally controlled by the
switch on the rear panel .

Semipro condenser mics often have batter­ies to accomplish the same thing. “Phantom”
owes its name to an ability to be “unseen” by

®

dynamic mics (Shure

SM57/SM58, for in­stance) that don’t need external power and
aren’t affected by it anyway.

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

MIC

devices into the

input jacks if the phantom

power is on.

PRO’s phantom

PHANTOM

MIC

R

D

X

LINE IN

INSERT

TAPEINTAPE

MIC

1

M

I

C

P

D

R

X

E

LINE IN

BAL
UN

—

BAL

INSERT

MIC

2

M

I

C

R

P

D

R

X

E

LINE IN

BAL
UN

—

BAL

INSERT

MIC

3

M

I

C

R

R

P

D

R

X

E

LINE IN

BAL
UN

—

BAL

INSERT

MIC

4

M

I

C

P

D

R

X

E

LINE IN

BAL
UN

—

BAL

INSERT

MIC

5

M

I

C

R

P

D

R

X

E

LINE IN

BAL
UN

—

BAL

INSERT

MIC

6

M

I

C

R

P

D

R

X

E

LINE IN

BAL
UN

—

BAL

INSERT

MIC

R

D

X

LINE IN

INSERT

MIC

8

M

I

C

P

R

E

BAL
UN

—

L

BAL

LINE IN 10

R

7

M

I

C

R

P

R

E

BAL
UN

—

BAL

9-10

M

R

D

X

LINE IN 9

MIC

11-12

I

M

C

I

C

R

P

R

P

D

R

X

E

E

LINE IN 11 LINE IN LINE IN

BAL
UN
BAL

—

L

R

LINE IN 12

BAL
UN

—

BAL

RIGHT

LEFT

MONOMONOMONO

13

LEFT

BAL/

UNBAL

14

RIGHT

OUT

LEFT

RIGHT

MONO

LEFT

BAL/

UNBAL

RIGHT

LAMP

PHONES

15

16

12V

0.5A

A

B

WITH PREMIUM XDR

164 2-VLZ PRO

16-CH ANNEL MIC /LINE MIXER

TM

MIC PREAMPLIFIERS

10

LINE INPUTS

These 1/4″ jacks share circuitry (but not
phantom power) with the mic preamps. You
can use these inputs for virtually any signal
you’ll come across, from instrument levels as
low as –50dB to operating levels of –10dBV to
+4dBu, as there is 45dB of gain available via

TRIM

the

knob .

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

Always be sure to perform the
Procedure

.

Level-Setting

To learn how signals are routed from these
inputs: . To connect balanced lines to these

1

inputs, use a

/4″ tip-ring-sleeve (TRS) plug,

the type found on some stereo headphones:

SLEEVERING

TIP

Tip = positive (+ or hot)

RING

RING

TIP

SLEEVE

Ring = negative (– or cold)
Sleeve = shield or ground

To connect unbalanced lines to these in-

1

puts, use a

/4″ mono (TS) phone plug or

standard instrument cable:

SLEEVE

TIP

Tip = signal (+)
Sleeve = ground

TIPSLEEVE

TIP

SLEEVE

TRIM

These controls are the top row of knobs in
the channel strip section. Every time you plug

MIC

or

LINE

something into a
should perform the

Level-Setting Procedure

, and that procedure is basically “how to use

TRIM

the

MIC

knob.”

TRIM

adjusts the input sensitivity of the

and

LINE

inputs. This allows signals from
the outside world to be adjusted to optimal
internal operating levels.

Through the XLR jack (
0dB of gain with the knob fully down, ramping
to 60dB of gain fully up.

1

Through the

/4″ input (

of attenuation fully down and 45dB of gain fully

U

up, with a “

” (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.

input jack, you

MIC

), there will be

LINE

), there is 15dB

Without this “virtual pad,” a scenario like that
might lead to channel clipping.

TRIM

The
stereo channels 9-10 and 11­12 are only used to adjust
the Mic inputs. The line in­puts are set to unity gain.

TRIM

The

controls for channels 13-14 and
15-16 only adjust the line level inputs, as they
have no Mic inputs.

INSERT

These 1/4″ jacks are for connecting serial

effects processors such as compressors, equaliz-

. The

MUTE

INSERT

INSERT

SEND to processor

RETURN from processor

jacks can also

jacks:

ers, de-essers, or filters

TRIM

after the

EQ, LOW CUT,

cables must be wired thusly:

TIPSLEEVE

ring

tip

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

control, but before the channel’s

fader and

(TRS plug)

sleeve

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

Even though channels 1–8 already have

DIRECT OUT

jacks ,

be used as channel direct outputs; post-

LOW CUT

pre­ways you can use the

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

, and pre-EQ. Here are three

INSERT

MONO PLUG

Direct out with no signal interruption.

Insert only to first “click.”

MONO PLUG

Direct out with signal interruption.

Insert all the way in to the second “click.”

STEREO

PLUG

For use as an effects loop.

controls for

point is

controls. Insert

“tip”

“ring”

TRIM

Channel Insert jack

Channel Insert jack

Channel Insert jack

TRIM

B

d

0

V

1

—

G

A

C

I

N

I

1

M

U

60

0

+15dB -45dB

LOW CUT

75 Hz

18dB/OCT

AUX

U

1

OO

+15

U

2

OO

+15

PRE

U

3

OO

+15

U

4

OO

+15

EQ

U

HI

12k

+15-15

U

MID

15

+15

—

800

FREQ

2k200

8k100

U

LOW
80Hz

+15-15

MUTE

OO

LR

1

PAN

OL

—

SOLO

1

3

L/R

REC

20

—

2

—

4

,

dB
10

5

U

5

10

20

30

40
50
60

1

11

DIRECT OUT (on rear panel)

Found only on channels 1–8, these 1/4″ jacks

deliver the signal from the very end of the

TRIM

channel path; post-

, post-fader and post-

CUT

, post-EQ, post-

MUTE

. You can use

these for recording, making the 1642-VLZ

LOW

PRO

perfect for an 8-track studio.

RECORDING

When recording, you use the first two chan­nels for your sound sources: vocal mics, drum
mics, keyboard/synth outputs, guitar effects
outputs, that sort of thing. From there, the
channels manipulate the sound, but are not as­signed to the output section. Instead, they’re
patched from the channel’s

DIRECT OUT

to any of your 8 multitrack inputs. This allows
recording of two tracks at a time. By recon­necting the Direct Outs to the different tape
inputs, you can record to all of the 8 tracks.

Once the tracking is completed, the outputs
of the multitrack are then patched to channels

LINE

3-12
track out 1 to
Aha! That’s why it says “
nel 3’s fader, “

inputs on the 1642-VLZ PRO (multi-

LINE

input 3, 2 to 4, 3 to 5, etc.).

TRACK 2

TRACK 1

” next to channel 4, and

” next to chan-

so forth. These channels (3–12) will be as­signed to the mixer’s output section, delivering
the signals to their ultimate destination, which
may be your mixdown 2-track, your control
room system, or your headphones.

But let’s not forget that the 1642-VLZ
a 4-bus mixer. These buses lead to the

, and are designed to accomplish the

OUTS

task of getting channels to the multitrack with­out using the direct outputs.

For example, a channel is assigned to

SUB OUT 1. SUB OUT 1

’s output is patched to
multitrack input 1. From there, the multitrack
output goes to the mixer’s channel 3
as we just discussed. (Hot tip: To feed an 8­track deck with 4 sub outputs, the 1642-VLZ
PRO has double busing, which simply means
that bus 1 feeds
bus 2 feeds
feeds
feeds

SUB OUT

SUB OUT 2
SUB OUT 3
SUB OUT 4

s to the inputs of the 8-track deck.

SUB OUT 1

and
and

and

SUB OUT 5

and

SUB OUT 6
SUB OUT 7
SUB OUT 8

Tracks in record mode will accept the signal,
and tracks in safe mode will ignore the signal.)

jacks

PRO is

SUB

LINE

input,

, bus 3
, and bus 4
. Patch the 8

,

The advantages: You can assign any channel
to any track, without repatching. You can as­sign multiple channels to one track and control
the overall level of that subgroup

. You can’t

bounce tracks without this feature.

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

Perhaps the best recording method is a
combination of both approaches: Use the

to feed multichannel submixes (like a

OUTS

SUB

drum kit) to some of the tracks, and the

DIRECT OUT

jacks to feed single-channel sig-

nals (like bass guitar) to the other tracks.

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

Another method of interfacing a multitrack is
called inline monitoring, and requires a mixing
console dedicated to that, like the Mackie
8•Bus. Each of its channels is actually two chan­nels: one carrying the mic/line sound source and
the other carrying the multitrack output.

AUX SEND OUTPUTS

These 1/4″ jacks usually patch to the inputs
of your parallel effects devices
puts of your stage monitor amps. To learn how
signals are routed to these outputs, see the Aux
discussion on page 25.

or to the in-

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