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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. A few of the features
described in this section are on top of the
mixer, but most are out back on the “pod.”
E-Z INTERFACE
Concerned about levels,
balancing, impedances, po-
larity, or other interface
goblins? Don’t be. On your
CR1604-VLZ, you can patch anything almost
anywhere, with nary a care. Here’s why:
• Every input and output is balanced
(except insert, 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/LINE INPUTS ON EVERY CHANNEL
The original CR-1604 had six mic/line chan-
nels and ten line-only channels. That was fine
for most applications, but live sound users
were forced to go out and buy the XLR-10 mic
input add-on module. No more. Each and every
channel on the New Improved CR1604-VLZ has
the legendary Mackie mic/line input circuit.
It’s like getting a free XLR-10 with your mixer!
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 CR1604-VLZ’s mic inputs
will handle almost any kind of mic level you
can toss at them, without overloading.
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 CR1604-VLZ’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 cer-
tain it is safe to do so,
never plug single-ended
(unbalanced) micro-
phones, instruments or
electronic devices into the
MIC
input jacks if
the phantom power is on.
PATENT PENDING
4321
INSERT INSERT INSERT
LINE
INSERT
MIC 4 MIC 3 MIC 2
MIC 1
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINE
OO
+6
PHANTOM
POWER
120 VAC 50/60 Hz 20W
315mA/250V SLO-BLO
16
15 14 13 12 11 10 9 8 7 6 5
MIC 16
INSERT
INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5
SUB OUTSC-R OUTSMAIN INSERT
TAPE TAPE
MAIN OUT
AUX SEND
DIRECT OUT
AUX RETURN
3
R
L
MONO
R
R
R
R
L
R
L
R
L
R
L
LLL
1
42
5
1234
31
642
753
864
1
2
BAL/UNBAL
BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
INPUT OUTPUT
(MONO)
R
L
(MONO)(MONO)(MONO)
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
BAL
UN-
BAL
LINELINELINELINELINELINE
LINELINELINELINELINELINE
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION: