ページ1に含まれる内容の要旨
N
N
N
N
N
N
N
N
N
N
N
N
N
N
N
N
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
V
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
d d d d d d
d d d d d d d d
d d
CR1604-VLZ
MIC/LINE MIXER
OWNER’S MANUAL
120 VAC 50/60 Hz 20W POWER PHANTOM MAIN OUT MAIN INSERT TAPE TAPE C-R OUTS SUB OUTS AUX RETURN AUX SEND DIRECT OUT
315mA/250V SLO-BLO BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL
INPUT OUTPUT
L L L 3 1 4 3 2 1 5 31 7
ページ2に含まれる内容の要旨
9. Object and Liquid Entry — Care should be taken so that CAUTION AVIS objects do not fall into and liquids are not spilled into the RISK OF ELECTRIC SHOCK inside of this Mackie product. DO NOT OPEN RISQUE DE CHOC ELECTRIQUE 10. Damage Requiring Service — This Mackie product should NE PAS OUVRIR be serviced only by qualified service personnel when: CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) A. The power-supply cord or the plug has been NO USER-SERVICEABLE PAR
ページ3に含まれる内容の要旨
READ THIS PAGE!!! We realize that you must have a powerful Other Nuggets of Wisdom hankerin’ to try out your new CR1604-VLZ. For optimum sonic performance, the channel Or you might be one of those people who faders and the MAIN L-R MIX fader should be never reads manuals. Either way, all we ask set near the “U” (unity gain) markings. is that you read this page NOW, and the rest Always turn the MAIN L-R MIX fader and C–R/ can wait until you’re good and ready. But do PHONES knob down before making
ページ4に含まれる内容の要旨
N N N N N N N N N N N N N N N N I I I I I I I I I I I I I I I I V V V V V V V V V V V V V V V V A A A A A A A A A A A A A A A A B B B B B B B B B B B B B B B B G G G G G G G G G G G G G G G G d d d d d d d d d d d d d d d d INTRODUCTION Thank you! There are a lot of makes and Throughout these chapters you’ll find illus- models of compact mixers out there, all com- trations, with each feature numbered. If you’re peting for your bucks… but you have voted with curious about a feature, simply locate
ページ5に含まれる内容の要旨
CONTENTS LEVEL-SETTING PROCEDURE .................................... 3 AUX............................................................... 20 INSTANT MIXING .................................................... 3 PRE ............................................................... 21 HOOKUP DIAGRAMS .............................................. 6 5/6 SHIFT ..................................................... 21 CONVERTING TO RACKMOUNT MODE .................... 9 OUTPUT SECTION DESCRIPTION ......
ページ6に含まれる内容の要旨
HOOKUP DIAGRAMS out in out in FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN CH CH 1 2 Stereo Power Amplifier CR1604-VLZ 8-Track Tracking 6 Studio Monitors OL OL PWR PWR ON ON HIGH RESOLUTION STUDIO MONITOR OFF STUDIO MONITOR HIGH RESOLUTION OFF Keyboard, or other line-level input Cassette or DAT Stereo EQ w/Compressor Bass Preamp Drum Guitar Effects Machine L L 12 12 3 4 R L R L R L 16 15 14 13 11 10 9 8 7 6 5 4 3 R R STEREO MONO 21 PHONES SUB OUTS C/R OUT TAPE TAPE MAIN MAIN OUT B
ページ7に含まれる内容の要旨
CR1604-VLZ Stereo P.A. 7 r k e c d a r r o t Left PA Speaker Right PA Speaker Keyboard, or other line-level input Stereo EQ Keyboard, or other line-level input Stereo Compressor FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN Optional Live Recording Drum CH CH Guitar Effects 1 2 Machine Stereo Power Amplifier CD Player NOTE: for mono PA, use mono output to feed FOH. L L 12 16 15 14 13 12 11 10 9 8 7 6 5 3 4 R L R L R L R R STEREO MONO 4 3 21 PHONES SUB OUTS C/R OUT TAPE TAPE M
ページ8に含まれる内容の要旨
CR1604-VLZ Video Setup 8 out Video Deck Video Deck Studio Monitors Video Deck OL OL PWR PWR ON ON STUDIO MONITOR HIGH RESOLUTION OFF STUDIO MONITOR HIGH RESOLUTION OFF Multi-VCR Video Switcher with Time Code CD Player Interface Computer in with Audio Card FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN Keyboard, or other line-level input Sampler CH CH 1 2 Stereo Power Amplifier Master Video L L 12 16 15 14 13 12 11 10 9 8 7 6 5 4 3 3 4 R L R L R L R R STEREO MONO 21 PHONES SUB OUTS C
ページ9に含まれる内容の要旨
CONVERTING TO RACKMOUNT MODE Not only is the new CR1604-VLZ a compact, An optional accessory called the ROTOPOD- professional-quality tabletop mixer, it’s rack- VLZ is available and can be used in desktop or mountable! Its unique rotating input pod rackmount installations. It will put the patchbay makes this possible. jacks on the same plane as all the knobs, buttons One of the things that revolutionized the com- and faders. This is a lifesaver in applications that pact mixer industry was the “
ページ10に含まれる内容の要旨
PATCHBAY DESCRIPTION At the risk of stating the obvious, this is and noise. You can plug in almost any kind of where you plug everything in: microphones, mic that has a standard XLR-type male mic line-level instruments and effects, and the ulti- connector. Always be sure to perform the mate destination for your sound: a tape Level-Setting Procedure . To learn how sig- recorder, PA system, etc. A few of the features nals are routed from these inputs: . If you described in this section are on top
ページ11に含まれる内容の要旨
N I V A B G d LINE INPUTS This 10dB of attenuation can be very handy TRIM 1 when you are inserting a signal that is very hot, 1 These /4" jacks share circuitry (but not U or you want to add a lot of EQ gain, or both. 10 60 phantom power) with the mic preamps. You +10dB -40dB Without this “virtual pad,” a scenario like that AUX can use these inputs for virtually any signal U might lead to channel clipping. you’ll come across, from instrument levels as 1 +15 low as –40dB to operating levels of –1
ページ12に含まれる内容の要旨
SPLIT MONITORING But let’s not forget that the CR1604-VLZ is a 4-bus mixer. These buses lead to the SUB With split monitoring, you use the first eight OUTS , and are designed to accomplish the channels for your sound sources: vocal mics, task of getting channels to the multitrack with- drum mics, keyboard/synth outputs, guitar out using the direct outputs. effects outputs, that sort of thing. From there, For example, a channel is assigned to the channels manipulate the sound, but are SUB OUT 1.
ページ13に含まれる内容の要旨
120 VAC 50/60 Hz 20W MAIN INSERT TAPE TAPE C-R OUTS SUB OUTS AUX RETURN AUX SEND DIRECT OUT POWER PHANTOM MAIN OUT 315mA/250V SLO-BLO BAL/UNBAL INPUT OUTPUT BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL BAL/UNBAL L L L 3 1 4 3 2 1 5 31 753 1 L L LL L L (MONO) (MONO) (MONO) (MONO) MONO R R R 42 642 864 2 R R R R R R CAUTION: TO REDUCE THE RISK OF FIRE REPLACE WITH SAME TYPE FUSE AND RATING +6 INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT
ページ14に含まれる内容の要旨
This method is exactly WARNING: When we say the same as the double- the headphone amp is busing feature found in loud, we’re not kidding. It other mixers. Built-in double can cause permanent ear busing is nothing more than damage. Even intermedi- Y-cords living inside the mixer instead of ate levels may be painfully loud with some hanging out the back. If we had room for the earphones. BE CAREFUL! extra jacks, we would have thrown them in, Always turn the C-R/PHONES knob all the but we don’t, so
ページ15に含まれる内容の要旨
MAIN INSERT ing mono signals to mic inputs like camcorders, telephone interface boxes, even answering 1 These /4" jacks are for connecting serial machines. With the pot all the way up (fully effects such as compressors, equalizers, de- clockwise), you’ll have 6dB of extra gain with essers, or filters . The INSERT point is after unity gain halfway between the one and two the mix amps, but before the MAIN L-R MIX o’clock positions. fader. Insert cables must be wired thusly: SEND to processor POWE
ページ16に含まれる内容の要旨
POWER SWITCH PHANTOM LED If this one isn’t self-explanatory, we give up. Located right next to the POWER LED in the You can leave this switch on all the time; the output section, this is just to let you know which CR1604-VLZ is conservatively designed, so heat way you have the PHANTOM switch set. If your buildup isn’t a problem even in 24-hour-a-day dynamic mics work and your condensers don’t, operation. There’s nothing that will burn out or chances are this LED is off, so turn it on. get used
ページ17に含まれる内容の要旨
N I V A B G d CHANNEL STRIP DESCRIPTION The sixteen channel strips look alike and A Clean Fade TRIM 1 function identically. The only difference is that Faders are not rocket U the eight on the left have DIRECT OUT jacks science — they operate by 10 60 +10dB -40dB and the eight on the right don’t. We’ll start dragging a metal pin (the AUX U at the bottom and work our way up. wiper) across a carbon-based 1 strip (the track). It is possible for airborne +15 U “U” LIKE UNITY GAIN crud to land on
ページ18に含まれる内容の要旨
N I V A B G d LEVEL SET (PFL) is also the preferred mode If you’re printing new tracks or bouncing ex- for SR (sound reinforcement, or live sound), to isting ones, you’ll also use the 1–2 and 3–4 preview channels before they are let into the switches, but not the L–R switch. Here, you mix. It won’t give you stereo placement, but will don’t want the subgroups sent back into the give you signal even if the fader is pulled down. MAIN L-R MIX, but sent out, via the SUB OUTS TRIM 1 Remember, LEVEL SE
ページ19に含まれる内容の要旨
N I V A B G d come on as a result of clipping. That’s pretty CONSTANT LOUDNESS ! ! ! boring. So, to liven things up, this LED will The CR1604-VLZ’s PAN glow steadily when that channel’s MUTE controls employ a design switch is engaged. called “Constant Loudness.” If you need a quick reference to these LEDs, It has nothing to do with write this on the back of your hand: living next to a freeway. As you turn the PAN name color flickering glowing knob from left to right (thereby causing the –20 (SOL
ページ20に含まれる内容の要旨
N I V A B G d LOW CUT +15 +10 The LOW CUT switch, often referred to as a +5 high pass filter (all depends on how you look at it), cuts bass frequencies below 75Hz at a 0 rate of 18dB per octave. This ain’t no thrown-in –5 TRIM 1 dime-store filter — an 18dB per octave curve –10 U requires an elaborate circuit. Nothing but the –15 10 60 +10dB -40dB best for you. 20Hz 100Hz 1kHz 10kHz 20kHz AUX U We recommend that you use LOW CUT on ev- +15 1 ery sound source except kick drum, bass guitar, +10 +15
