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through a Channel Access or Stereo Bus in-
sert or before/after the mixer. Processors
include compressors, limiters, filters or exter-
nal equalizers.
ODD DUCKS
Some newer, digital “Swiss Army Audio Knives”
can be switched for compression, limiting and
whatever else struck the whim of the product de-
signer. Check their manuals for details. You’ll
probably want to connect them based on how
you’re using them in your mix.
CONNECTING AN EFFECT WITH STEREO
OUTPUTS
Use two separate cables and plug into a LEFT/
RIGHT pair of an AUX return. The corresponding
stereo AUX RETURN Level knob will control both
sides of the effect equally.
CONNECTING A MONO OUTPUT EFFECT
If you want a signal to return to just the right
side, plug the effect output into just the RIGHT
AUX RETURN.
SEPARATE MONO EFFECTS IN L & R
If you plug different mono effects into an AUX
RETURN’s left and right jacks and press the
corresponding MONO button, you get up to eight
mono returns.
CHANNEL INSERTS
To connect a processor using the CR-1604’s
CHANNEL ACCESS jacks, use tip-ring-sleeve
plugs wired as shown. The “tip” plug goes to the
processor INPUT; the “ring” plug goes to the
processor’s OUTPUT. If you’re using these jacks
as channel inserts, adjust the TRIM controls after
you plug the processor in.
CHANNEL INSERTS AS DIRECT CHANNEL OUTS
You can also use the CHANNEL ACCESS jacks
as direct outputs from the channels (post-fader/
post EQ) to feed tape decks, DAT machines or
other mixers. (See drawing on following page.)
Part 4 — CONNECTION TIPS
It’s now time to begin hooking up all the cool
stuff you want to mix together. At this point, you
rack mounters may want to rotate the CR-1604’s
input/output pod to its jacks-to-back position. Pod
rotation instructions start on page 20. If you want
everything in yo’ face, i.e. jacks on the same plane
as the controls, get our RotoPod bracket (see
details on page 20).
Instead of being included in this manual we
have provided an incredibly detailed Applica-
tions Guide with much more detailed (and
colorful) drawings than could be managed in a
2-color, letter-size manual. NOTE: If you some-
how lost the Applications Guide in the
frenzied heat of unpacking your CR-1604,
your Mackie dealer should have some extras
stashed someplace. Or call 1-800-898-3211
and we’ll send you a replacement, pronto.
EFFECTS AND PROCESSORS
Most recording and PA setups use external
signal processors to enhance the sound: reverb,
delay, digital delay, equalizers and compressors
are the most common, but perhaps you have a
harmonizer or enhancer as well. All of these
devices can be grouped into two categories —
effects and processors, depending on what they
do and how they’re used.
EFFECTS (parallel processing)
These generate additional sounds that you
add to the mix, usually by making two simulta-
neous mixes: one is of the unmodified dry signal
that goes directly to the main outputs via the in-
put channels; the other is an auxiliary mix that
is sent to the effects device. The output of the
effect is then mixed with the main output, usu-
ally through an AUX return. The most common
effects are reverb and digital delay.
PROCESSORS (serial processing*)
These devices modify the signal and com-
pletely replace it with the processed version.
Usually they are connected to only one micro-
phone, instrument, or track at a time —
* — as compared to CEREAL processing, wherein
wheat, rice, oats, etc. are turned into strange, alien-
colored breakfasts foods named after kiddie shows.
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