Mackie 1642-VLZ3 Owner's Manual download pdf (Page 8)

164-VLZ3

1642-VLZ3

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 de-

scribed in this section are on top of the mixer, but some

are on the rear panel.

See Appendix B for further details and drawings of

the connectors you can use with the 1642-VLZ3. Also see

the Channel Strip description on page 14 for details of

the signal routing from the XLR and Line inputs.

E-Z INTERFACING

Concerned about levels, balancing, impedanc-

es, polarity, or other interface goblins? Don’t

be. On your 1642-VLZ3, you can patch anything almost

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

• Every input and output is balanced (except

inserts, phones and RCA jacks).

• Every input and output will also accept unbal

anced lines (except XLR jacks).

• Every input is designed to accept virtually any

output impedance.

• The main left and right mix outputs can deliver

28 dBu into as low as a 600 ohm load.

• All the other outputs can deliver 22 dBu into as

low as a 600 ohm load.

• All the outputs are in phase with the inputs.

All we ask is that you perform the Level-Setting Pro

cedure on page 3, every time you patch in a new sound

source. So stop worrying and start mixing!

MIC AND LINE INPUT FLEXIBILITY

Channels 1-8 are mono channels with MIC [1] and

LINE [2] inputs, featuring our XDR2 Extended Dynamic

Range mic preamp circuitry. Channels 9-10 and 11-12

are stereo pairs with left and right LINE inputs and a

single MIC input feeding each pair. Channels 13-14 and

15-16 are stereo pairs with LINE inputs only.

1. MIC INPUTS

We use phantom-powered, balanced microphone

inputs just like the big studio mega- consoles, for

exactly the same reason: This kind of circuit is excel-

lent at rejecting hum and noise. You can plug in almost

any kind of mic that has a standard XLR-type male mic

connector. Always be sure to perform the Level-Setting

Procedure. If you wire your own connectors, make them

like this:

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-

VLZ3’s mic inputs will handle almost any kind of mic

level you can toss at them, without overloading.

Not every instrument is made to connect directly to a

mixer. Guitars commonly need a Direct Injection (DI)

box to connect to the mixer's MIC inputs. These boxes

convert unbalanced line-level signals from your guitar,

into balanced mic-level outputs, and provide signal and

impedance matching. They also let you send your gifted

guitar renditions over long cables or audio snakes, with

minimum interference and high-frequency signal loss.

Ask your dealer or guitar maker about their recommen-

dations for a good DI box.

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-VLZ3’s phantom power is globally controlled

by the PHANTOM [22] switch on the rear panel.

Semipro condenser mics often have batteries to ac-

complish the same thing. “Phantom” owes its name to an

ability to be “unseen” by dynamic mics (Shure® SM57/

SM58, for instance) that don’t need external power and

aren’t affected by it.

1 2 3 4 5 6 7 8 9 10 11 12 13 ... 31 32

Comments to this Manuals

No comments

Mackie 1642-VLZ3 Owner's Manual Page 8

Comments to this Manuals

Related products and manuals for Audio mixers Mackie 1642-VLZ3