Mackie CR1604 Owner's Manual download pdf (Page 22)

AUX

SENDS

STEREO AUX RETURNS

EFFECTS TO

MONITORS

TO AUX

SEND 2

TO AUX

SEND 1

PWR

PHAN

SOLO

R / PHNS

ONLY

RETURNS

SOLO

MAIN MIX

TO SUBS

ASSIGN OPTIONS

–

+20

+15

+20

+10

LEFT RIGHT

PHONES

LAMP

12 V

0.5A

TAPE IN

SOLO

RUDE

SOLO

LIGHT

R / PHONES

SUBS 3

–

SUBS 1

–

MAIN MIX

SOURCE

TAPE

TAPE TO

MAIN MIX

MAIN

R MIX

RIGHT

1234

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

CLIP

ASSIGN TO MAIN MIX

LEVEL

SET

MODE

(AFL)

LEVEL SET

NORMAL

(PFL)

CR1604

VLZ

CHANNEL MIC/LINE MIXER

+20

MAX

0 dB=0 dBu

MAX

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 more than enough cur-

rent, resulting in sonic specifications that

rival consoles upwards of $50,000!

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 su/jointfilesconvert/319773/bgroups, 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 su/jointfilesconvert/319773/bgroup 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 su/jointfilesconvert/319773/bgroup signals is off when its fader is

fully down, the “

” marking is unity gain, and

fully up provides 10dB additional gain. Re-

member that if you’re treating two su/jointfilesconvert/319773/bgroups

as a stereo pair, su/jointfilesconvert/319773/bgroup

and

for example,

make sure that both su/jointfilesconvert/319773/bgroup faders “ride”

together, to maintain the left/right balance.

ASSIGN TO MAIN MIX

One popular use of the su/jointfilesconvert/319773/bgroups is to use

them as master faders for a group of channels

on their way to the

MAIN L-R MIX

. Let’s say

you’ve got a drum kit hogging up seven channels

and you’re going to want to fade them out at a

different rate than the other channels. You don’t

want to try that with seven hands or seven fin-

gers, so just un-assign these channels from

L–R

reassign them to su/jointfilesconvert/319773/bgroup

1–2

, engage the

AS-

SIGN TO MAIN MIX, LEFT

on su/jointfilesconvert/319773/bgroup

and

the

ASSIGN TO MAIN MIX, RIGHT

on su/jointfilesconvert/319773/bgroup

. Now you can ride the entire stereo drum mix

with two faders —

and

If you engage just one

ASSIGN TO MAIN

MIX

switch per su/jointfilesconvert/319773/bgroup

(

LEFT

RIGHT

the signal sent to the

MAIN L-R MIX

will be

the same level as the

SUB OUTS

. If you want

the su/jointfilesconvert/319773/bgroup 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.

OUTPUT SECTION DESCRIPTION

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 L-R MIX FADER

As the name implies, this

fader controls the levels of

signals sent to the

MAIN OUT

" TRS jacks and

TAPE

OUTPUT

RCA jacks . All

channels and

AUX RETURN

that are assigned to the

MAIN

L-R MIX

, not muted and not

turned fully down will appear

at the

MAIN OUT

. Before the

main mix gets to this fader, the

signals pass through the

MAIN

INSERT

The

MAIN L-R MIX

signals

are off with the fader fully

down, the “

” marking is unity

gain, and fully up provides

10dB additional gain. This ad-

ditional gain will typically

never be needed, but once

again, it’s nice to know it’s

there. The fader itself is a ste-

reo version of the channel and

su/jointfilesconvert/319773/bgroup faders — same su-

persmooth custom taper, same

dead silence when turned fully

down. This is the fader to pull

down at the end of the song

when you want “The Great Fade-Out.”

VLZ MIX

ARCHITECTURE

When designing a mixing

circuit, the lowest noise and

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.

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Mackie CR1604 Owner's Manual Page 22

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