Mackie 1604 Musical Toy Instrument User Manual


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1604VLZ4
1604VLZ4
4. Insert
Theseunbalanced1/4"jacksareforconnectingserial
effectsprocessorssuchascompressors,equalizers,
de-essers,orlters.Theinsertpointisafterthegain
[3]control,butbeforethechannel’sEQ[32],lowcut
[33],fader[25]andmute[30]controls.Insertcables
mustbewiredthusly:
Tip=send(outputtoeffectsdevice)
Ring = return(inputfromeffectsdevice)
Sleeve = commonground
Eventhoughchannels1–8alreadyhavedirectout[5]
jacks,insertjackscanalsobeusedaschanneldirect
outputs;post-gain,pre-lowcut,andpre-EQ.Seethe
connectorsectiononpage29showingthreewaystouse
insertcables.
5. Direct Out
Foundonlyonchannels1–8,thesebalanced1/4"
jacksdeliverthesignalfromtheveryendofthechannel
path;post-gain[3],post-EQ[32],post-lowcut[33],
post-fader[25],andpost-mute[30].Theyarethekey
playerin“splitmonitoring,”makingthe1604VLZ4
perfectforan8-trackstudio.
Split Monitoring
Withsplitmonitoring,youusetherst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,they’repatchedfromthe
channel’sdirectout[5]jackstothecorresponding
multitrackinput(directout1tomultitrackinput1,2to
2,3to3,etc.).Thesignalswillnowberecordedorpass
directlythroughthemultitrack,dependingoneach
track’srecord-readystatus.
tip
This plug connects to one of the
mixer’s Channel Insert jacks.
ring
tip
ring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
multitrack
machine
sound sources
direct
outputs
group
outputs
1–8 9–16
2. Line Ins
These1/4"jackssharecircuitry(butnotphantom
power)withthemicpreamps,andcanbedrivenby
balancedorunbalancedsourcesatalmostanylevel.
Youcanusetheseinputsforvirtuallyanysignalyou’ll
comeacross,frominstrumentlevelsaslowas–50dBu,
tooperatinglevelsof–10dBVto+4dBu,sincethere
is–15to+45dBofgain(60dBrange)availablefor
lineinputsviathegain[3]knob.Alwaysmakesure
toperformthelevelsettingprocedureonpage5.
Toconnectbalancedlinestotheseinputs,use
a1⁄4"Tip-Ring-Sleeve(TRS)plug,wiredasfollows:
Tip=Positive(+orhot)
Ring=Negative(–orcold)
Sleeve=Shieldorground
Toconnectunbalancedlinestotheseinputs,
usea1⁄4"mono(TS)phoneplug,wiredasfollows:
Tip=Positive(+orhot)
Sleeve=Shieldorground
3. Gain
Yesit’strue,thesecontrolsarenot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.Ifyouhaven’t
already,pleasereadthelevel-settingprocedureon
page5.
Gain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.
IfthesignaloriginatesthroughtheXLRjack,there
willbe0dBofgainwiththeknobfullydown,ramping
to60dBofgainfullyup.
Throughthe1⁄4"input,thereis20dBofattenuation
fullydownand40dBofgainfullyup,witha“U”(unity
gain)markat10:00.This20dBofattenuationcanbe
veryhandywhenyouareinsertingaveryhotsignal,or
whenyouwanttoaddalotofEQgain,orboth.Without
this“virtualpad,”thisscenariomightleadtochannel
clipping.
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