Mackie Compact Mixer User Manual

17
Compact Mixer Reference Guide
MIXER ANATOMY: CHAPTER 2
Inputs, Outputs, and Related Controls
Mackie E-Z Interfacing
Concerned about levels, balancing, impedance,
polarity, or other interface goblins? Don’t be. On
your Mackie mixer, you can connect almost anything
almost anywhere, with nary a care. Here’s why:
• Every main input and output is balanced .
• Every 1/4" input and output jack also accepts
unbalanced connections.
• Every input is designed to accept virtually any
output impedance.
• The main left and right mix outputs can de-
liver +28 dBu into a 600 ohm load (that’s hot!)
• All the other outputs can deliver +22 dBu into
a 600 ohm load (that’s plenty).
• All the outputs are in phase with the inputs.
All Mackie mixers have both microphone and line-
level inputs. Some channels have both, some chan-
nels have only line-level inputs. Consult your mixer’s
quick start guide (or just look at the connector
panel) for the exact arrangement. Below is the rear
panel of the 1604-VLZ PRO.
Mic? Line? – What’s The Difference?
Microphones produce a relatively low
voltage, generally in the range of 1 to 250
millivolts, depending on the sensitivity of
the mic, and how loud the sound is. Voltages in the
0.15 to 3 volt range are considered to be line-level.
These aren’t rules or standards, just ways of talking
about two widely different operating voltage ranges,
both of which are common in audio.
A microphone typically requires 20 to 60 dB of gain
in order to bring its signal up to the mixer’s operat-
ing level. A line-level signal requires little if any gain,
and may need to be brought down in level to match
the mixer. So, while there’s a wide adjustment range
for both mic and line inputs, the mic inputs have
higher gain.
Don’t forget the Level-Setting Proce-
dure at the beginning of this book. Mic
and line inputs are happiest when run-
ning at the optimum levels. That procedure will get
you there.
Check the Tips section and Glossary for more infor-
mation about terms we’ll be using here like operating
level, impedance, balanced, unbalanced, XLR, and
TRS. Also study the mixer block diagrams, as each
one is worth a thousand words or more.
Mic Inputs
Mackie mixers include phantom-powered, bal-
anced XLR microphone inputs just like the big studio
mega-consoles, and for exactly the same reason:
A fully balanced circuit is excellent at rejecting
hum and noise, and phantom powering means that
condenser mics can be used without external power
supplies or batteries.
You can plug in almost any kind of mic that has a
standard male XLR-type connector without fear of
overloading the preamp. Professional ribbon, dy-
namic, and condenser mics all sound great through
these inputs.
XLR Input Connectors – Mic wiring
Nearly all professional mics are designed to con-
nect to a low impedance input, and employ balanced
wiring terminating in an XLR-style plug. You’ll fi nd an
illustration and wiring diagram in the Tips section,
chapter 9. We use the wiring convention:
Pin 1 = shield
Pin 2 = positive (+ or hot)
Pin 3 = negative (- or cold)
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
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
LINE
LINE
LINE
OO
+6
PHANTOM
ON
POWER
ON
120 VAC 50/60 Hz 20W
1A/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 OUT
C-R OUT
MAIN INSERT
(TIP SEND
RING RETURN)
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
L
LL
1
42
5
1
234
31
642
7
53
8
64
1
2
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
BAL/UNBAL
INPUT OUTPUT
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
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
CAUTION:
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE • US PATENT NUMBER 29/049,129
XDR
TM
EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
X
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Mackie Compact Mixer Specifications

General

Channels	4
Mic Preamps	2
Phantom Power	Yes
Power Supply	External Power Supply
Type	Analog Mixer
Headphone Output	1
EQ Bands	2-band (shelving)

Summary

Inputs, Outputs, and Related Controls

Mackie E-Z Interfacing

Describes ease of connecting various audio gear to Mackie mixers.

Mic vs. Line Level Signals

Explains the distinction between microphone and line-level signals in audio.

Mic Inputs

Details Mackie's balanced XLR microphone inputs and phantom power.

Phantom Power Explained

Explains phantom power for condenser mics and its operation.

Mackie Onyx Mic Preamps

Introduces Mackie's Onyx series mic preamps.

Line Inputs

Discusses Mackie's balanced 1/4" TRS line inputs and their impedance.

The TRIM Control

Explains the function of the TRIM control for adjusting input sensitivity.

Hi-Z Guitar Inputs

Describes direct instrument inputs on specific Mackie mixers.

Tape Returns

Details the use of tape return jacks on the 8-Bus console.

Auxiliary Return Inputs

Describes line-level inputs for effects devices or external sources.

Talkback Microphone Input

Explains the dedicated talkback mic input and its functionality.

Main Outputs

Discusses the main stereo outputs and their levels.

Main Output Level Switch

Describes a switch to attenuate XLR main outputs.

Mono Output

Explains the dedicated mono output for a summed mix.

Subwoofer Output

Details the subwoofer output with a low-pass filter.

Tape Outputs

Describes RCA jacks for simultaneous recording.

Direct Outputs

Discusses direct outputs for sending individual channel signals.

Bus and Subgroup Outputs

Bus Output Levels

Explains the output levels of subgroup busses.

Double and Triple Bussing

Describes how Mackie mixers duplicate subgroup output jacks.

ALT 3-4 Outputs

Details the alternate stereo bus outputs on certain mixers.

AUX Send Outputs

Explains the function of auxiliary send outputs.

Pre and Post Sends

Differentiates between pre-fader and post-fader auxiliary sends.

PRE/POST Switches

Discusses switches for selecting send signal path.

AUX Send Shift

Describes a shift button for AUX send knob assignments.

Built-in Effects

Details mixers with integrated digital effects processors.

EFX Foot Switch and Bypass

Explains foot switch operation for effects bypass.

Control Room Output

Discusses the dedicated output for control room monitoring.

Headphone Output

Describes the headphone output and its volume control.

Studio Output (8-Bus)

Details the studio output for playback to studio monitors.

Mix B Output (8-Bus)

Explains the independent stereo mix for monitoring.

Channel Inserts

Describes insert jacks for adding external processors.

Insert Jack Tricks

Shows advanced uses of insert jacks for direct outs.

Utility Output (CFX Series)

Discusses utility outputs on CFX series mixers.

PPM Series Outputs

SPEAKER Out (PPM)

Details speaker outputs on PPM series mixers.

POWER AMP ROUTING

Explains routing options for power amplifiers in PPM mixers.

MONITOR Line Out (PPM)

Describes the monitor line output on PPM mixers.

MIXER LINE OUT (PPM)

Details the main mixer outputs on PPM mixers.

POWER AMP IN (PPM)

Explains connecting external signals to PPM power amps.

BNC Lamp Socket