Mackie 1642-VLZ PRO Owner's Manual - Patchbay Description
10
LINE IN
INSERT
XDR
MIC PRE
MIC
1
BAL
UN-
BAL
LINE IN
INSERT
XDR
MIC PRE
MIC
2
BAL
UN-
BAL
LINE IN
INSERT
XDR
MIC PRE
MIC
3
BAL
UN-
BAL
LINE IN
INSERT
XDR
MIC PRE
MIC
4
BAL
UN-
BAL
LINE IN
INSERT
XDR
MIC PRE
MIC
5
BAL
UN-
BAL
LINE IN
INSERT
XDR
MIC PRE
MIC
6
BAL
UN-
BAL
LINE IN
INSERT
XDR
MIC PRE
MIC
7
BAL
UN-
BAL
LINE IN
INSERT
XDR
MIC PRE
MIC
8
BAL
UN-
BAL
BAL
UN-
BAL
LINE IN 9
LINE IN 10
XDR
MIC PRE
MIC
9-10
L
R
13
LEFT
LEFT
RIGHT
LEFT
RIGHT
MONO
MONO
MONO
14
RIGHT
BAL /
UNBAL
BAL /
UNBAL
15
LEFT
MONO
16
RIGHT
TAPE
IN
TAPE
OUT
BAL
UN-
BAL
LINE IN 11
LINE IN
LINE IN
LINE IN 12
XDR
MIC PRE
MIC
11-12
L
R
PHONES
A
B
LAMP
12V
0.5A
1642-VLZ
PRO
16-CHANNEL MIC/LINE MIXER
WITH PREMIUM XDR
TM
MIC PREAMPLIFIERS
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, 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, po-
larity, 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
MIC
and
LINE
inputs, featuring our new XDR Ex-
tended Dynamic Range mic preamp circuitry.
Channels 9-10 and 11-12 are stereo pairs with
left and right
LINE
inputs and a single
MIC
in-
put feeding each pair. Channels 13-14 and
15-16 are stereo pairs with
LINE
inputs only.
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 rejecting hum
PATCHBAY DESCRIPTION
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
. To learn how sig-
nals are routed from these inputs:
. If you
wire your own, connect them like this:
2
2
3
1
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
SHIELD
COLD
HOT
3
2
1
Pin 1 = ground or shield
Pin 2 = positive (+ or hot)
Pin 3 = negative (– or cold)
Professional ribbon, dynamic, and con-
denser 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
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/SM58, for in-
stance) 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
devices into the
MIC
input jacks if the phantom
power is on.