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1604VLZ4

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2. Most of the root and lower harmonics that define sound are located in the 100 8 kHz frequency range and you can create drastic changes with these two knobs Many engineers use mid EQ to cut midrange frequencies not boost them One popular trick is to set the mid fully up turn the frequency knob until you find a point where it sounds just terrible then back the mid down into the cut range causing those terrible frequen cies to disappear Sounds silly but it works Sometimes The hi EQ provides you up to 15 dB boost or cut above 12 kHz and it is also flat at the detent Use it to add sizzle to cymbals an overall sense of transparency or an edge to e keyboards vocals guitar and bacon frying Turn it down a little to reduce sibilance or to mask tape hiss 10 20h With too much EQ you can screw things up royally We ve designed a lot of boost and cut into each equalizer circuit because we love you and know that everyone will occasionally need that But if you max the EQ on every channel you ll get mix mush Equalize subtly and use the left sides of the knobs cut as well as the right boost If you find yourself repeatedly using full boost or cut consider altering the sound source such as
3. 21 48 METERS wa 22 METERS VS 22 RUX TAL csscsciesasasscses azesveccasseacsessvassaasse 23 49 AUX SENDS 23 50 AUX SENDS 5010 23 51 STEREO RETURNS 23 52 TO AUX 1 AND TO AUX 2 24 53 MAIN MIX TO SUBS STEREO RET 3 24 54 1 2 3 4 STEREO RETURN 3 24 55 CR PH ONLY STEREO RETURN 4 25 56 RETURNS SOLO AND 25 APPENDIX A SERVICE INFORMATION 26 APPENDIX CONNECTIONG ccccccssccossceess 26 APPENDIX TECHNICAL INFORMATION 30 DIMENSIONS 31 TRACK SHEET cccccccccccsccessscessccescceesecess 32 BLOCK DIAGRAM cccsccccsccsscossscessccessces 34 1604VLZ4 LIMITED 35 Like us 6 Follow us Watch our dang videos SISUMO Owner s Manual 31 1604 24 xy Features 16 channel mixer featuring our signature high headroom low noise design 16 boutique quality Onyx mic preamps e Ultra wide 60 dB gain range 128 5 dB dynamic range 22 dBu line input handling Extended frequency response Distortion under 0 0007 20 Hz 50 kHz Improved RF rejection perfect for broadcast appli
4. 10 0 AUX SENDS cssissssssssissssiisosossscssossssossssisso 11 EFFECTS SERIAL OR 11 7 STEREO 12 8 SUB OUTS 12 DOUBLE BUSING 12 9 CR OUTS CONTROL ROOM OUTPUTS 12 10 PHONES OUT ON FRONT PANEL 12 112 TARE QUT 12 12 iscissi 13 13 MAIN 1 13 14 MAIN OUTS sccsssssssssessssssssssnsssssees 13 15 MONO 13 10 MONO LEVEL 13 17 VOLTAGE 1 13 18 POWER 13 10 14 20 POWER 14 21 POWER 14 22 PHANTOM 14 23 FEV LED 14 24 BNC LAMP 0 14 CHANNEL STRIP 15 U LIKE UNITY 15 Please write your serial number here for future reference i e insurance claims tech support return authorization make dad proud etc Purchased at Date of purchase _ Part SW0972 Rev A 06 13 2013 LOUD Technolog
5. CR PHONES a AFL RUDE SOURCE PFL SOLO 1604VLZ4 Meters vs Reality You may already be an expert at the world of 4 4 dBu 1 23 V and 10 10 dBV 0 82 V operating levels Basically what makes a mixer one or the other is the relative 0 dB VU or 0 VU chosen for the meter display A 4 mixer with a 4 dBu signal pouring out the back will actually read 0 VU on its meter display 10 mixer with 10 dBV signal trickling out will read you guessed it 0 VU on its meter display So when is 0 VU actually 0 dBu Right now At the risk of creating another standard VLZ4 compact mixers address the need of both crowds by calling things as they are 0 dBu 0 775 V at the output shows as 0 VU on the meter display What could be easier By the way the most wonderful thing about standards is that there are so many to choose from Thanks to the 16047 2245 wide dynamic range you can get a good mix with peaks flashing anywhere between 20 and 10 dB on the meter display Most amplifiers clip at about 10 dB and some recorders aren t so forgiving either For best real world results try to keep your peaks between 0 and 7 Please remember Audio meter displays are just tools to help assure you that your levels are in the ballpark You don t have to stare at them unless you want to If you find that staring at the meters sends you into a hypnotic trance please do
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7. 14 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power spol cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed 10 rain or moisture does not operate normally or has been dropped 15 This apparatus shall not be exposed to dripping or splashing and no object with liquids such as vases or beer glasses shall be placed on the apparatus 16 Do not overload wall outlets and extension cords as this can result a tisk of fire or electric shock 17 This apparatus has been designed with Class construction and must be connected to a mains outlet with a protective earthing connection the third grounding prong 18 This apparatus has been equipped with a rocker style AC mains power switch This switch is located on the rear panel and should remain readily accessible to the user 19 The MAINS plug or an appliance coupler is used as the disconnect device so the device shall remain readily operable AN CAUTION REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER BACK NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL ATTENTION POUR EVITER LES RISQUES DE CHOC ELECTRIQUE NE PAS ENLEVER LE COUVERCLE AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L USAGER CONFIER L ENTRETIEN AU PERSONNEL QUALIFIE AVIS POUR EVITER LES RISQUES D INCE
8. 7 ofo ojojo m FEE o 7 if ojo I if 1 Owner s Manual Track Sheet Session Date Notes GAIN GAIN GAI GAIN GAIN GAIN GAIN GAIN GAIN G 30 1 30 2 4 30 5 30 6 30 7 30 30 9 30 1 0 yom yom yon 32 32 yo 20 40 20 20 20 20 20 20 40 20 40 L 60 20dB 40dB 2088 40dB 2048 40dB 2048 40dB 20dB 40dB 20dB 40dB 20dB 40dB 20dB 40dB 20dB 40dB AUX AUX AUX AUX AUX AUX AUX AUX AUX ean some i i i i i i i i i 1 1 1 1 1 1 1 1 1 a 4 4 ne 5 15 15 15 15 15 15 15 Ka 7 1 1 P 1 1 P 1 1 a SS va N 15 15 15 15 15 15 PRE PRE PRE PRE PRE U U 1S os 2 7 gt 1 1 I 1 1 1 1 1 151 rap Pap 151 H 5 X 15 15 15 15 15
9. 2 3 4 and tape are defeated to allow the soloed channel to do just that solo 28 20 Solo LED An LED that does two completely different things Saves space recycles the planet but requires some explanation First the 20 part Often referred to as signal activity this LED will flicker in time with the signal present in that channel It s handy for confirming that a channel is indeed active and may also lend a clue as to what the signal is For instance a kick drum will cause the LED to pulse in time with the drum and a synth pad will cause it to glow a bit more steadily Now for the solo part When a channel s solo switch is engaged this LED will glow steadily without flickering It will also be brighter than it would be as a 20 indicator In conjunction with the rude solo light 47 you can find a rogue solo switch quickly 1604VLZ4 29 OL Mute LED Another LED that does two completely different things First the OL part OL means overload or clip You don t want that to happen Ever Clipping can happen to any mixer it s the point where the signal s voltage tries to exceed the supply voltages that power the circuitry The 1604VLZ4 s OL LED will come on just before clipping so if you see it take immediate action Perform the level setting procedure on page 5 If that doesn t help check for excessive use of EQ boost or fader gain Like the 20
10. 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 SEND to processor tip ring TRS plug sleeve _ ting tip This plug connects to one of the mixers Channel Insert jacks RETURN from processor 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 82 post low cut 83 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 first eight channels for your sound sources vocal mics I 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 theyre 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
11. 20 20 1 20 1 1 20 SOLO SOLO SOLO SOLO SOL SOLO _ z 12 a 8 _ z _ _ z _ 8 _ 34 LR LR LR LR LR 16047 124 yom yoo yor yo gt x 20 207 207 ao 207 207 207 1604VLZ4 1 1 1 1 1 1 16 CHANNEL MIC LINE MIXER o 4s WITH ONYX PREAMPLIFIERS 20dB 404 20dB 40dB 20dB 40dB 20dB 40dB 2048 40dB 20dB 40dB AUX AUX AUX AUX AUX AUX es sems son som es sone sone som 7 e e gt 7 d Li 1 Li to J To AUX 1 1 1 1 1 1 1 1 1 ILR 1 5 4 5 5 ne ne 15 15 15 15 15 15 10 20 15 U U U U U U U U sos sos sos sos som gt i i i 1 i i i i i 2 L 2 TO AUX 1 P 1 P 1 1 ILR 1 5 2 15 15 15 10 20 15 PRE PRE U U U AUX MASTERS U oS BOR ge ASSIGNIOPTIONS 1 1 1 I 1 C lkal ha aN 7 N SOLO aTOLR 12 5 5 0 1050865 34 oom 2
12. mic input jacks with phantom power on unless you know for certain it is safe to do so Owner s Manual 9 VERY IMPORTANT VERY IMPORTANT MAIN INSERT j SUBGROUP OUTS TIP SEND UNBALANCED STEREO BAL oe SS 11S S77 nds SF lt a7 SZ DIRECT OUTS AUX SENDS K 74 27 6 ONYX MIE 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 1 4 mono TS phone plug wired as follows Tip Positive or hot Sleeve Shield or ground 3 Gain GAIN 4 Yes it s true these controls
13. 15 wa 4 e 1 1 I 1 1 1 1 1 4 _64 4 64 64 4 6414 64 P 1 9 1 1 1 SS A 4 2 15 15 15 15 15 15 5 6 5 6 5 6 SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT SHIFT EQ y EQ HI EQ EQ y EQ HI pom 13k d i 1 1 1 1 5 7 a 15 15 15 15 15 15 15 15 15 15 pc MID some 27 4 4 _ a L 4 1 1 1 N 15 15 15 15 15 15 15 15 15 7 FREQ FREQ SS FREQ 7 NRE 27 4 FREQ pA FREQ i i 200 2k 200 2k 200 2k i i i 8k A x o 100 8k 100 LOW se OW F 4 80Hz Py 4 80 2 80 2 7 80Hz 4 4 1 1 15 15 15 15 15 15 15 1 15 15 15 15 1 Low eal Low Low cuT Low Low Low uC 75 75 Hz 75 75 Hz 75 75 75 PAN PAN PAN soln soln soln soln soln soln 4 d i 1 i 1 4 1 1 1 1 1 ri L R R E R 19 R R MUTE MUTE MUTE MUTE MUTE OL OL OL OL OL E g E ofc 29 0 48 20 1
14. LED it will tend to flicker in time with that channel s signal Now for the mute part Assuming your levels are set correctly the OL LED will never come on as a result of clipping That s pretty boring So to liven things up this LED will glow steadily when that channel s mute 80 switch is engaged Here is a quick reference to these LEDs 20 SOLO signal present channel soloed OL MUTE channel clipping channel muted 30 Mute Engaging this switch provides the same results as turning the channel s fader all the way down Any channel assignment to L R 1 2 or 3 4 will be interrupted All the post aux sends will be silenced as will the direct out signals on channels 1 through 8 and the OL mute LED will glow The pre aux sends channel insert send and solo in level set PFL mode will continue to function during mute Depending on the audio content in a channel engaging its mute switch may cause a slight popping sound This is not a problem within the mixer and it can be avoided Simply engage the low cut 83 switch on each channel unless its low frequency content is vitally important such as a kick drum or bass guitar Low cut eliminates subsonic debris which causes the pop and its effect is usually transparent 31 This adjusts the amount of channel signal sent to the left versus the right outputs Pan determines the fate of the L R assignment subgroups 1 2 and 8 4 and the solo in
15. PFL mode you ll get the signal dead center but still post aux sends master level 51 Stereo Returns Level These four controls set the overall level of effects received from the stereo return 7 input jacks These controls are designed to handle a wide range of signal levels each knob goes from off to unity gain at the detent to 20 dB gain fully clockwise to compensate for low level effects Signals passing through these level controls will proceed directly to the main mix fader 37 with exceptions that we ll discuss in a moment Typically these knobs can just live at the center detent and the effects device s output control should be set at whatever they call unity gain check their manual If that turns out to be too loud or too quiet adjust the effects device s outputs not the mixer That way the mixer s knobs are easy to relocate at the center detent Owner s Manual yenueyw 52 24 74 WO 16 CHANNEL MIC LINE MIXER WITH ONYX PREAMPLIFIERS co 10 AUX MASTERS jma 1 SOLO SUBS ie 2 SOLO RETURNS ay PNR ONLY SOLO 6 O STEREO RETURNS 52 To Aux 1 and To Aux 2 If you want to add reverb or delay to the stage monitor mixes these are the knobs for you Operating independently of their respectively numbered stereo returns 51 level controls these knobs are exactly the same as the channel strip aux 1 34 and aux 2 knobs These two knobs feed stereo r
16. and electronic instruments e Unbalanced line level connections Switched 1 4 Phone Jacks Switches can be incorporated into 1 4 phone jacks which are activated by inserting the plug These switches may open an insert loop in a circuit change the input routing of the signal or serve other functions The 1604VLZ4 uses switches in the channel insert and bus insert jacks input jacks and stereo returns It also uses these switches to ground the line level inputs when nothing is plugged into them In most cases the plug must be inserted fully to activate the switch The 1604VLZ4 takes advantage of this in some circuits specifying circumstances where you are to insert the plug only partially See Special Connections on the next page Owner s Manual 1604 24 Unbalanced RCA Connector RCA type plugs also known as phono plugs and jacks are often used in home stereo and video equipment and in many other applications RCA plugs are unbalanced Connect the signal to the center post and the ground earth or shield to the surrounding basket Be sure the cables are wired per AES Audio Engineering Society standards Unbalanced RCA Connector Sleeve Shield Ground Tip Positive or hot SLEEVE SLEEVE TIP sta Unbalanced RCA Connector Unbalancing a Line In most studio stage and sound reinforcement situ ations there is a combination of balanced and unbal anced inputs and outputs on t
17. and multi tap delays they are not likely to be used as often Output Section Description You ve just learned about the input channels and how the signals get in and out The signals come in via mic 1 and line 2 input jacks are manipulated by the channels and then sent to the output master section Things get a little more complicated so put on your thinking caps take a deep cleansing breath take this manual get on a bycycle ride down to the canal ponder your life and all its unique experiences then read this section 16 CHANNEL MIC LINE MIXER WITH ONYX PREAMPLIFIERS U U U G F 1 4 _ 4 AUX ILR r 1 N 2 N 4 20 ros JAN ASSIGN OPTIONS Y 2105 65 r aL SOLO a 48 PWR STEREO RETURNS U LEFT RIGHT JAN LAN 0 dB 0 dBu i if 20 679 CR PHONES TAPE IN 7 9 TOLR 2 JERS SUBS 1 2 4 _ 02 0 Slee LEVEL SUBS 3 4 SOLO SET 7 MAIN MIX MODE CR PHONES RUDE SOURCE PFL SOLO ASSIGN TO MAIN MIX LEFT LEFT LEFT LEFT RIGHT RIGHT oy MAIN MIX dB te ee ee 37 Main Mix Fader 5 This f
18. mics all sound excellent through these inputs The mic line inputs will handle any kind of level you can toss at them without overloading Not every instrument is made to connect directly to a mixer Guitars commonly need a Direct Injection DI box to connect to the mixer s mic inputs These boxes convert unbalanced line level signals from your guitar into balanced mic level outputs and provide signal and impedance matching They also let you send your gifted guitar renditions over long cables or audio snakes with minimum interference or high frequency signal loss Ask your dealer or guitar maker about their recommendations for a good DI box Phantom Power Most modern professional condenser mics are equipped for phantom power which lets the mixer send low current DC voltage to the mic s electronics through the same wires that carry audio Semi pro condenser mics often have batteries to accomplish the same thing Phantom owes its name to an ability to be unseen by dynamic mics Shure 5 57 5 for instance which don t need external power and aren t affected by it anyway The 1604VLZ4 s phantom power is globally controlled by the phantom 22 switch on the rear panel This means the phantom power for all channels is turned on and off together Never plug single ended unbalanced microphones or ribbon mics into the mic input jacks if the phantom power is on Do not plug instrument outputs into the
19. not be alarmed Just cut my lawn and polish my car every Tuesday 16 CHANNEL MIC LINE MIXER WITH ONYX PREAMPLIFIERS co 10 20 NI w i g SUBS ie 2 4 SOLO i g CR PH RETURNS 48V PNR 20 ONLY SOLO 6 STEREO RETURNS Aux Talk Sends are outputs returns are inputs Each channel s aux 34 knobs tap the signal off the channel and send it to the aux send 6 outputs Aux 1 and 2 are sent to the aux sends 1 and 2 49 master knobs before the aux send outputs aux 8 through 6 are sent directly These outputs can be fed to the inputs of a reverb or other device From there the outputs of the external device are fed back to the mixer s stereo return 7 inputs Then these signals are sent through the stereo return 51 level controls and finally delivered to the main mix So the original dry signals come from the channels to the main mix and the affected wet signals come from the stereo returns to the main mix and once mixed together the dry and wet signals combine to create a glorious sound Armed with this knowledge let s visit the Auxiliary World 49 Aux Sends Master These knobs provide overall level control of aux sends 1 and 2 just before they re delivered to their aux send 6 outputs This is perfect for controlling the level of stage monitors since you ll be using aux 1 and 2 for this with their pre 35 switches engaged Aux sends 3 through 6 have n
20. placing a mic differently trying a different kind of mic changing the strings or gargling Owner s Manual SASUMO 1604 24 33 Low Cut This switch often referred to as a high pass filter all depends on how you look at it cuts bass frequencies below 75 Hz at a rate of 18 dB per octave This ain t no thrown in dime store filter an 18 dB per octave curve requires an elaborate circuit Nothing but the best We recommend that you use this on every sound source except kick drum bass guitar or bassy synth patches These aside there isn t much down there that you want to hear and filtering it out makes the low stuff you do want much more crisp and tasty Not only that but low cut can help reduce the possibility of feedback in live situations and it helps to conserve amplifier power With low cut you can safely boost low EQ Many times bass shelving EQ can really benefit voices Trouble is adding low EQ also boosts the subsonic debris Stage rumble mic handling clunks wind noise and breath pops Low cut removes all that debris so you can boost the low EQ without blowing your subwoofers Here s a frequency curve of low EQ combined with low cut 10 20k 34 Aux 1 2 3 amp 4 These four knobs tap a portion of each channel s signal mix them together and send them to the aux send 6 o
21. pre sends are used to feed your stage monitors See the Pre vs Post diagram below Aux 3 through 6 are always in post mode MUTE Tow ANSER Cor EQ pA FADER gt ASSIGN gt INPUT gt TRIM SIGNAL SIGNAL o PRE SWITCH AUX2 In post mode switch up aux 1 and 2 will follow the EQ 32 low cut 33 fader 25 and mute 30 settings If you fade the channel you fade the send This is a must for effects sends since you want the levels of your wet signals to follow the level of the dry In pre mode switch down aux and 2 follow the gain and low cut settings only EQ pan fader and mute settings have no effect on the pre sends This is the preferred method for setting up stage monitor feeds they ll be controlled independently of the fader and mute moves 36 5 6 Shift Don t let the fact that there s only four aux knobs per channel fool you the 1604VLZ4 has six aux sends 6 With this 5 6 shift switch up the knobs labeled aux 3 and aux 4 deliver their signals to aux send 3 and 4 outputs With this switch down the signals appear at the aux send 5 and 6 outputs We recommend that aux send 3 and 4 be patched into your utility effects like a short reverb and slap delay effects you use all the time Use aux send 5 and 6 for exotic effects like harmonizers
22. subgroup has its own master fader and dedicated output In fact since there are 4 subgroups and the main L R mix it s actually a true 6 bus mixer We could have named it the 1606VLZ4 Darn Owner s Manual 1604 24 27 5 This lovable switch allows you to check signals in the phones or control room without having to assign them to the L R 1 2 or 8 4 mixes You can solo as many channels as you like Solo does not interrupt any of the other channels buses or outputs that s called nondestructive solo 6 Oy 2 Using the mode 44 WF 19 0 6 switch the 1604VLZ4 s solo 2010 system comes in two flavors normal AFL sometimes called SIP or solo in place and level set PFL sometimes called PFL or pre fader listen The mode switch is described in tender loving detail on page 21 Level set PFL taps the channel signal before the fader If you have a channel s fader set way below U unity gain solo won t know that and will send a unity gain signal to the control room headphones and meter display That may result in a Startling level boost at these outputs depending on the position of the solo 46 level knob VERY IMPORTANT In a nutshell soloed channels are sent to the source 42 mix that ultimately feeds your control room headphones and meter display Whenever solo is engaged all source selections main mix 1
23. tripped over the power cord and yanked it from the outlet your electricity has been turned off due to nonpayment or the fuse has blown 1604VLZ4 16 CHANNEL MIC LINE MIXER WITH ONYX PREAMPLIFIERS U U U e FG G ZG 1 4 14 4 AUX 1 ILR V I 1 4 g a 10 co 20 15 2 2 2 24 1 2 4 4 TO AUX 1 12 N N 4 4 10 20 co 15 ASSIGN OPTIONS 12 5085 4 34 O 1 1 N 4 RETURNS 0 ONLY SOLO STEREO RETURNS 22 Phantom Switch This switch controls the phantom power supply for all the mic 1 inputs as discussed on page 9 When turned on or off the phantom power circuitry takes a few moments for voltage to ramp up or down This is perfectly normal Make sure that you pull down the master fader and headphone control room volume before engaging the phantom switch 23 48V LED Located right next to the power LED this is just to let you know which way you have the phantom 22 switch set If your dynamic mics work and your condensers don t chances are this LED is off so turn it on You ll notice that when you turn the phantom power off the LED stays on for a while This is a natural phe nomenon the LED is actually a voltmeter telling you that the phantom power takes t
24. your whatever Power Unplugthe power cord and check the fuse Balanced XLR Input Connector 1604VLZ4 Balanced XLR Output Connector The male XLR connectors provide a balanced line level signal that represents the end of the mixer where the fully mixed stereo signal enters the real world Connect these to the left and right line level inputs of powered speakers or to the left and right line level inputs of an amplifier with speakers already attached Be sure the cables are wired per AES Audio Engineering Society standards Balanced XLR Output Connector Pin 1 Shield Ground Pin 2 Positive or hot Pin Negative or cold Balanced XLR Output Connector Balanced 1 4 TRS Connector TRS stands for Tip Ring Sleeve the three connections available on a stereo 1 4 cable This allows for a direct connection to the channel input jacks Be sure the cables are wired per AES Audio Engineering Society standards Balanced 1 4 TRS Connector Sleeve Shield Ground Tip Positive or hot Ring Negative or cold RING SLEEVE SLEEVE RINGTIP RING SLEEVE Balanced 1 4 TRS Connector TRS jacks and plugs are used in several different applications e Balanced mono circuits When wired as a balanced connector a 1 4 TRS jack or plug is connected tip to signal high hot ring to signal low cold and sleeve to ground earth
25. 1604VLZ4 16 Channel 4 Bus Compact Mixer OWNER S MANUAL 7 1 6 MUTE MUTE MUTE a Important Safety Instructions Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with a dry doth Do not block any ventilation openings Install in accordance with the manufacturer s instructions Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the e grounding type plug has two blades and a third grounding prong The wide No e or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Only use attachments accessories specified by the manufacturer 12 Use only with a cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when the cart apparatus combination to avoid injury trom tip over 13 Unplug this apparatus during lightning storms or when unuse bt long periods of time
26. AFL mode With the pan knob hard left the signal will feed the left main mix subgroup 1 subgroup 8 and left normal AFL solo mode assuming their assignment switches are engaged With the knob hard right signal feeds the right main mix subgroup 2 subgroup 4 and right normal AFL solo mode With pan set somewhere in between left and right the signal will be divided between the left and right buses Stereo Sources Your life will be easier if you follow this standard convention When patching stereo sound sources to a mixer always plug the left signal into an odd channel 1 3 5 etc and the right signal into the adjacent even channel 2 4 6 etc Then pan the odd channel hard left and the even channel hard right Constant Loudness The 1604VLZ4 s pan controls employ a design called Constant Loudness It has nothing to Zi do with living next to a freeway As you turn the pan knob from left to right thereby causing the sound to move from the left to the center to the right the sound will appear to remain at the same volume or loudness If you have a channel panned hard left or right and reading 0 dB it must dip down about 4 dB on the left or right when panned center To do otherwise like those Brand X mixers would make the sound appear much louder when panned center 32 3 Band Mid Sweep EQ The 1604VLZ4 has a 8 band mid sweep equalization low shelving at 80 Hz mid sweep peaki
27. Attenuation Crosstalk 1 kHz relative to 0 dBu 20 2 20 kHz bandwidth Line in 14 Main Out Gain unity Channel Mute switch engaged Channel Gain knob down 84 dBu 84 dBu Frequency Response Mic Input to Main Output Gain Unity 0 1 dB 20 Hz to 50 kHz 0 3 dB lt 10 Hz to gt 100 kHz Equivalent Input Noise EIN Mic in to Insert Send out max gain 150 Q termination 128 5 dBu Common Mode Rejection Ratio CMRR Mic in to Insert Send out max gain 1 kHz better than 70 dB Maximum Levels Mic in 22 dBu All other inputs 22 dBu Main Mix TRS out 28 dBu All other outputs 22 dBu 1604VLZ4 Power Consumption 50 watts Fuse Ratings 100 120 VAC 220 240 VAC 1A Slo Blo 5 x 20 mm 0 5A Slo Blo 5 x 20 mm Dimensions H x W x D in Normal Pod Position 17 0 x 17 3 5 1 433 mm x 440 mm x 129 mm Weight 20 0 9 1 kg Since we are always striving to improve our products by incorporating new and improved materials components and manufacturing methods we reserve the right to change these specifications at any time without notice The Running Man figure is a registered trademark of LOUD Technologies Inc All other brand names mentioned are trademarks or registered trademarks of their respective holders and are hereby acknowledged The technical writer responsible for this manual tends to fade in and out of various different r
28. J AN 1 1 ri 1 1 1 1 1 1 N aS Z RETURNS 15 15 48V PWR co 20 ONLY SOLO 5 6 5 6 5 6 SHIFT STEREO RETURNS EQ u HI LEFT RIGHT EI IDN 0 dB 0 dBu 1 1 1 1 1 1 20 3 s 970 pr 5 TAPE IN 7 z TAPE TOLR 2 15 15 15 15 15 pA Spreo h 2 1 1 SUBS 1 2 I 200 200 2k oF 8k e7 a nh LEVEL LOW 797 gt n gt SOLO SET 80Hz SUBS 3 4 1 05 1 02 Xs 44 CR PHONES AFL RUDE LOW LOW CUTI LOW CUT 75 75 SOURCE PFL SOLO ASSIGN TO MAIN MIX SN 25 i 1 1 1 LU gt LEFT LEFT LEFT LEFT 1 Yo f Yoa 22 14 15 16 Q MUTE MUTE MUTE RIGHT RIGHT RIGHT RIGHT 1 2 3 4 OL OL OL 1868 g _ 8 D e L 2 O 5 111 e SE L SOLO SOLO SOLO SOLO SOLO SOLO
29. LxIwans gt XIN OL NOISSV 4 4 T 7 5 Kat Jo Inorang U SALIN 9 MW Lang a CNU OFYALS og A 1 lt 2 v 2 AOS 1231 m o 2 k4 _ U _ ZNA OFYALS 27 tae A 1 lt OL 0105 aana lt m 227 092916 226 1 1 U OL 12 91 110 W003 102102 ans 916 LAHS a reo a Uno g ans 2 lt 2 lt 0 00 XIN SANOHd a 9 gt avanos SINOHA SHI Ino 099 Avo AHO lt 4 FA 1 FA 100 2391100 lt 38 001 08 Oe 19 o JNO L431 XIW gt NOISSY waav4 JAASNI OOTNND 4 D 0655 55555 5558 22 aLnw 0105 55 lt lt lt lt lt gt 3332174 10 aayona OZ 55 13471 ONOW 1604VLZ4 1604VLZ4 Limited Warranty AA VN Please keep your sales re
30. NDIE OU D ELECTROCUTION N EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L HUMIDITE WN PORTABLE CART WARNING CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons Le symbole clair avec point de fl che a l int rieur d un triangle quilat ral est utilis pour alerter l utilisateur de la pr sence a l int rieur du coffret de voltage dangereux isol d ampleur suffisante pour constituer un risque d l ctrocution The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance servicing instructions in the literature accompanying the appliance Le point d exclamation l int rieur d un triangle quilat ral est employ pour alerter les utilisateurs de la pr sence d instructions importantes pour le fonctionnement et l entretien service dans le livret d instruction accompagnant l appareil 20 NOTE This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference i
31. acilities and easily the most proven band friendly analog mixer ever the 1604 stands alone in the world of compact mixing How To Use This Manual After the introduction a getting started guide will help you get things set up fast These are followed by hookup diagrams which show some typical setups Next is a detailed tour of the entire mixer The descriptions are divided into sections just as your mixer is organized into distinct zones e Channel Strip e Output Section Throughout these sections you ll find illustrations with each feature numbered and described in nearby paragraphs This icon marks information that is critically important or unique to the mixer For your own good read them and remember them This icon will lead you to some explanations 5 of features and practical tips They usually have some valuable nuggets of information Need help with your mixer Visit www 720trees com and click Support to find FAQs manuals and other useful information e Email us at techmail loudtechinc com Telephone 1 800 898 3211 to speak with one of our splendid technical support chaps Monday through Friday normal business hours Pacific Time 1604VLZ4 Getting Started We realize that you must be really keen to try out the mixer Please read the safety instructions on page 2 then have a look through some of the features and details in this manual Setup Use the mixer i
32. ader controls the levels of signals sent to the main out 14 jacks and tape output 11 RCA jacks All channels and stereo returns that are assigned to the main mix not muted and not turned fully down will lt appear at the main outs Before the main mix gets to this fader the signals pass through the main insert 18 The main mix signals are off with the fader fully down C the U marking is unity gain and fully up provides 10 dB additional gain This additional gain will typically never be needed but once again it s nice to know it s there The fader itself is a stereo version of the channel and subgroup faders same supersmooth custom taper same dead silence when turned fully down This is the fader to pull down at the end of the song when you want The Great Fade Out 38 Subgroup Faders As you might expect these faders control the levels of signals sent to the sub outs 8 All channels that are assigned to subgroups with the assign 26 switches not muted and not turned fully down will appear at the sub outs Unlike the main out 14 the subgroup signals do not pass through an insert jack on their way to the subgroup faders That s no problem should you want to send these signals through a serial effects processor simply patch from the sub outs to the effect s input and from the effect s output to whatever the final destination is usually a multitrack recorder The subgrou
33. analog purists and digital hounds There are three examples listed here but feel free to experiment 1 the RCA tape inputs and outputs are connected to a stereo tape deck It s an easy way to get a stereo recording of the entire band as well as listening to playback over tape 2 the eight direct outputs are connected to the eight inputs of a multi track digital recorder and 3 the four subgroup outs are connected to the laptop Again there are many choices for recording Do what works for you and your setup A pair of MR8mk3 studio monitors are connected to the control room outputs to listen to playback of your latest masterpiece Recording System 1604VLZ4 lt Synth A D Headphones Connected to the phones jack on the front of the mixer Q Stereo Guitar Effects 21 Stereo Compressor Stereo Guitar Effects 9 9 9 0 333 333 9 9 0 9 DLM8 loudspeakers Stereo Compressor DLM Stage Monitors M Digital Reverb Digital Delay THT tt _ Stereo Compresor Stereo EQ and Stereo EQ DLM126 subwoofers The rhythm and lead guitars play through stereo effects processors plugged into the line inputs of channels 1 and 2 Microphones are connected to the mic inputs of channels 3 14 with vocal compressors connected to the channel 3 4 and 13 14 insert jacks Drums are mic d on chann
34. annel assignment switches 1 3 and Lare the left sides of these stereo pairs and 2 4 and are the right sides Used in conjunction with the channel s pan 31 knob these switches determine the destination of a channel s signal With pan set at the center detent the left and right sides receive equal signal levels To feed only one side or the other just turn the pan knob accordingly yenuey yy If you re doing a mixdown to a 2 track simply engage the L R switch on each channel that you want to hear and they ll be sent to the main mix If you want to create a subgroup of certain channels engage either the 1 2 or 3 4 switches instead of the L R and they ll be sent to the appropriate subgroup faders From there the subgroups can be sent back to the main mix allowing you to use the subgroup faders as a master control for those channels If you re printing new tracks or bouncing existing ones you ll also use the 1 2 and 3 4 switches but not the L R switch Here you don t want the subgroups sent back into the main mix but sent out via the sub outs 8 jacks to your multitrack inputs However if you re printing tracks via the direct out 5 jacks all the channel assignment switches should be disengaged up The 1604VLZ4 is what we call a true 4 bus mixer Each channel may be assigned or unassigned to any of the subgroups without affecting the other subgroups or settings within the channel and each
35. 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 so 4048 gt 2 6 that we couldn t bear to separate them If you haven t AOH already please read the level setting procedure on 5 OQ gal Gain adjusts the input sensitivity of the ee gt Or mic and line inputs This allows signals NY the outside world to be adjusted to GAIN Optimal internal operating levels RE 2 2 5 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 wes 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 1604VLZ4 4 Insert These unbalanced 1 4 jacks are for connecting serial effects processors such as compressors equalizers de essers or filters The insert point is after the gain 3 control but before the EQ 32 low cut 33
36. are on top of the mixer but most are out back on this pod See Appendix B page 27 for further details and some rather lovely drawings of the connectors you can use with the 1604VLZ4 EZ Interface Concerned about levels balancing impedances polarity or other interface goblins You can patch anything almost anywhere on the 1604VLZ4 with nary 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 when phantom power is on Every input is designed to accept virtually any output impedance The main left and right mix outputs can deliver 28 dBu into as low as a 600 ohm load All the other outputs can deliver 22 dBu 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 page 5 every time you patch in a new sound source So stop worrying and start mixing 1 Mic Ins This is a female XLR connector that accepts a balanced mic or line level input from almost any type of source These Onyx mic preamps feature higher fidelity and headroom rivaling any standalone mic preamp on the market today These circuits are excellent at rejecting hum and noise The XLR inputs are wired as follows Pin 1 Shield or ground Pin 2 Positive or hot Pin 3 Negative or cold Professional ribbon dynamic and condenser
37. cations Phantom power for condenser mics 16 high headroom line inputs with 4 10 operation control 16 balanced inserts perfect for integrating outboard gear 3 band EQ with sweepable midrange 18 dB oct 75 Hz low cut filter on mic input channels Four aux sends level pan and solo and overload mute LEDs on each channel Four stereo returns eight direct outs and four group bus outputs 60 mm long wearing log taper faders Control room phones multi input source matrix High resolution 12 segment stereo meters Sealed rotary control resist dust and grime Built Like A Tank rugged steel chassis with powder coat finish High visibility high contrast controls deliver convenient at a glance visual feedback Rack mountable design with three physical configurations via Rotopod accessory sold separately Multi voltage power supply for worldwide use Introduction A legend in compact mixer design the 1604VLZ4 now combines the proven performance of Onyx preamps with the no compromise high headroom low noise design that made the 1604 an industry mainstay All 16 channels feature an Onyx mic pre line input and insert in a compact 4 bus design built for application flexibility and professional performance Plus it is truly Built Like A Tank with a ridiculously rugged solid steel chasis that includes high contrast controls for ultimate tactile control Found in countless professional broadcast and post f
38. ceipt in a safe place This Limited Product Warranty Product Warranty is provided by LOUD Technologies Inc LOUD and is applicable to products purchased in the United States or Canada through a LOUD authorized reseller or dealer The Product Warranty will not extend to anyone other than the original purchaser of the product hereinafter Customer you or your For products purchased outside the U S Canada please visit www 720trees com to find contact information for your local distributor and information on any warranty coverage provided by the distributor in your local market LOUD warrants to Customer that the product will be free from defects in materials and workmanship under normal use during the Warranty Period If the product fails to conform to the warranty then LOUD or its authorized service representative will at its option either repair or replace any such nonconforming product provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at www 720trees com or by calling LOUD technical support at 1 800 898 3211 toll free in the U S and Canada during normal business hours Pacific Time excluding weekends or LOUD holidays Please retain the original dated sales receipt as evidence of the date of purchase You will need it to obtain any warranty service For full terms and conditions as well as the specific duration of the Warranty
39. d earth for both signals The send from the mixer to the external unit is carried on the tip and the return from the unit to the mixer is on the ring SEND to processor rin tip sleeve TRS plug This plug connects to one of the mixer s Channel Insert jacks RETURN from processor Unbalanced 14 Insert Connectors Special Connections The balanced to unbalanced connection has been anticipated in the wiring of 1604VLZ4 jacks 1A TS plug inserted into a 1A TRS balanced input for example will automatically unbalance the input and make all the right connections Conversely a 1 4 TRS plug inserted into a 1 4 unbalanced input will automatically tie the ring low or cold to ground earth Using the Send Only on an Insert Jack If you insert a TS mono 1A plug only partially to the first click into a VLZ4 insert jack the plug will not activate the jack switch and will not open the insert loop in the circuit thereby allowing the channel signal to continue on its merry way through the mixer This allows you to tap out the channel or bus signal without interrupting normal operation If you push the 1A TS plug in to the second click you will open the jack switch and create a direct out which does interrupt the signal in that channel See the illustration on the next page NOTE Do not overload or short circuit the signal you are tapping from the mixer That will affect the internal sig
40. d of with your household waste according the WEEE Directive 2002 96 EC and your national law This product should handed over to an authorized collection site for recycling waste electrical and electronic equipment EEE Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE At the same time your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources For more information about where you can drop off your waste equipment for recycling please contact your local city office waste authority or your household waste disposal service 1604VLZ4 Contents IMPORTANT SAFETY INSTRUCTIONS 2 3 FEATURES 1 4 GETTING STARTED ssssissesssssessssossssosssoesosssssssosssos sss 5 HOOKUP 1 6 CONVERTING TO RACKMOUNT 8 PATCHBAY 9 EZ INTERFACE 9 0 S 9 PHANTOM POWER 9 2 MIME INS 10 3 GAIN 10 As INSERT 10 5 DIRECT 10 SPLIT
41. disconnect the power cord pop out the fuse drawer with a small flat screwdriver and replace the fuse with SLO BLO 5x20mm available at electronics stores or your dealer or a 500 mA SLO BLO 5x20 mm if your 1604VLZ4 is set to 220V 240V If two fuses blow in a row something is very wrong Please call our toll free number 1 800 898 3211 from within the U S or call the distributor in your country and find out what to do 20 Power Switch Press the top of this rocker switch inwards to turn on the mixer The power led 21 on the top surface of the mixer will glow with happiness or at least it will if you have the mixer plugged in to a suitable live AC mains supply Press the bottom of this switch to put the mixer into standby mode It will not function but the circuits are still live To remove AC power either turn off the AC mains supply or unplug the power cord from the mixer and the AC mains supply As a general guide you should turn the mixer on first before the power amplifier or powered speakers and turn it off last This will reduce the possibilities of any turn on or turn off thumps in the speakers 21 Power LED You ve probably already figured this out but if the power 20 switch is on this LED light emitting diode located in the output section will light If the switch is off well you get the idea If the power switch is on and the LED does not glow one of three things has happened Somebody
42. e Stereo Headphones and rarely stereo microphones and stereo line connections When wired for stereo a 14 TRS jack or plug is connected tip to left ring to right and sleeve to ground earth VLZ4 mixers do not directly accept 1 plug type stereo microphones They must be separated into a left cord and a right cord which are plugged into the two mic preamps You can cook up your own adapter for a stereo microphone Y two cables out of a female 1 4 TRS jack to two male XLR plugs one for the right signal and one for the left e Unbalanced send return circuits When wired as a send return Y connector a 1A TRS jack or plug is connected tip to signal send output from mixer ring to signal return input back into mixer and sleeve to ground earth Unbalanced 1 4 TS Connector TS stands for Tip Sleeve the two connections available on a mono 1A cable This allows for a direct conection to the channel input jacks Be sure the cables are wired per AES Audio Engineering Society standards Unbalanced 1 4 TS Connector Sleeve Shield Ground Tip Positive or hot SLEEVE SLEEVE TIP SS 0 om SLEEVE Unbalanced 1 4 TS Connector TS jacks and plugs are used in many different applications always unbalanced The tip is connected to the audio signal and the sleeve to ground earth Some examples e Unbalanced microphones e Electric guitars
43. e input 12 and tape output 11 Make sure your tape deck is not in record record pause or input monitor mode when you engage this switch or that the tape in 40 level knob is turned fully down IMPORT 42 Source Typically the engineer sends the main mix to an audience or to a mixdown deck if recording But what if the engineer needs to hear something other than the main mix With the 1604VLZ4 the engineer has several choices of what to listen to This is one of those tricky parts have a double espresso first Using these switches you can choose to listen to any combination of main mix subs 1 2 subs 3 4 and tape Selections made here deliver stereo signals to the control room headphones and meter display These signals are tapped off as follows post main mix fader post subgroup faders 38 and post tape in 40 knob With no switches engaged there will be no signal at these outputs and no meter indication with two exceptions solo and stereo return 4 Regardless of the source matrix selection engaging a solo switch will replace that selection with the solo signal also sent to the control room headphones and meter display This is what makes the level setting procedure So easy Now you know how to select the signals you want to send to the engineer s control room and or phones Once selected these signals all pass through the same level control aptly named 43 CR Phones As you might ex
44. e radio lectrique dict par les ministere des communications du Canada 22 Exposure to extremely high noise levels may cause permanent hearing loss Individuals vary considerably in susceptibility to noise induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time The U S Government s Occupational Safety and Health Administration OSHA has specified the permissible noise level exposures shown in the following chart According to OSHA any exposure in excess of these permissible limits could result in some hearing loss To ensure against potentially dangerous exposure to high sound pressure levels it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent hearing loss if exposure is in excess of the limits set forth ere Sound Level Typical Example dBA Slow Response Duration io day in 00 Duo small club ubway Train Very loud classical music Matt screaming at Troy about deadlines Loudest parts at a rock concert WARNING To reduce the risk of fire electric shock do not expose this apparatus to rain or moisture Correct disposal of this product This symbol indicates that this product should not be dispose
45. e the sides An optional accessory called the Rotopod VLZ is available and may be used in desktop or rackmount installations It will put the patchbay jacks on the same plane as all the knobs buttons and faders This is a lifesaver in applications that demand frequent repatching and costs a heck of a lot less than an external patchbay not to mention all the interface and patch cords Please visit your dealer for more exciting details Be sure to order the VLZ4 version so you don t end up with the one for the classic CR 1604 screws replace screws use the longer screws that come in a little bag sunken position f O Patchbay Description ancy UNBAL a 6 0 OOOO 0 0 lt JE UNBAL p J eS eo Enn C We WO We We WW WW We Sh Wh WW SS SS At the risk of stating the obvious this is where you plug everything in microphones line level instruments and effects headphones and the ultimate destination for your sound PA system DAW etc A few of the features described in this section
46. ealities depending on how many cups of tea he has had Please check our website for any updates to this manual www 720trees com 2013 LOUD Technologies Inc All Rights Reserved Manual imensions sareds OL Ye 288 ss amp 0 G 0000 T amp 100001 91 0 1 0 0 0 0 0 0090 e000 91 q 090 0100001 000 1 0009191 00 55 5 009090007 07 0 8 0090 e900 91 110 5E 1 e000 05 0 5 90 90 e000 00 0000 0090 91 0 0090 e000 90 000 o oF 0 0100001 oF 000 e000 oF 0100 e000 90 10 0 lt lt ggr 9 4 in 238 mm with rack ears fitted in upper position 8 7 in 222 mm Pod in normal position UUUUU UU U A
47. educe the chance of turn on or turn off thumps e Save the shipping box Owner s Manual s Hookup Diagrams BY MANA Synth Headphones Stereo Guitar Effects Headphone am Connected to the phones jack on the front of the mixer Stereo Guitar Effects Stereo Compressor Stereo Compressor and Stereo EQ Stereo Compressor 0 HA Multi track Digital Recorder Stereo Deck X 7 E we coo Digital Reverb 0 L studio monitors Digital Delay gt The rhythm and lead guitars play through stereo effects processors plugged into the line inputs of channels 1 and 2 Microphones are connected to the mic inputs of channels 3 14 with vocal compressors connected to the channel 3 4 and 13 14 insert jacks Drums are mic d on channels 5 12 A bass guitar is connected to the line input of channel 15 while a synth is connected to the line input of channel 16 A stereo compressor and stereo graphic EQ are connected the L R main inserts Digital reverb and delay processors are connected aux sends 1 and 3 with the aux sends set to post level Effects are added to the main mix via the stereo return inputs and adjusted with the stereo return level control There are a multitude of recording possibilities geared for both
48. eeds the tips of both destination plugs 1604VLZ4 2 9 Outs Control Room Outputs These 1 4 jacks are usually patched to the inputs of control room amplifier or a headphone distribution amplifier To learn how signals are routed to these outputs see ctl room phones 48 on page 20 10 Phones Out On Front Panel The 1604VLZ4 s stereo 1 4 phones jack will drive any standard headphone to very loud levels To learn how signals are routed to these outputs see ctl room phones 48 on page 20 If you re wiring your own cable for the phones output FT RIGHT RIGHT RIGHT Tip left channel Ring right channel Sleeve common ground WARNING When we say the headphone amp is loud not kidding It can cause permanent ear damage Even intermediate levels may be painfully loud with some earphones BE CAREFUL Always turn the ctl room phones 43 knob all the way down before connecting headphones Keep it down until you ve put the phones on Then turn it up slowly Why Engineers who fry their ears find themselves with short careers 11 Tape Out These unbalanced RCA jacks tap the main mix outputs to make simultaneous recording and PA work more convenient Connect these to your 2 track recorder s inputs To learn how signals are routed to these outputs see main mix 37 fader details on page 19 Mono If yo
49. els 5 12 A bass guitar is connected to the line input of channel 15 while a synth is connected to the line input of channel 16 A stereo compressor and stereo graphic EQ are connected to the L R main inserts The 1 4 L R main outs connect to a stereo graphic EQ before connecting to a pair of DLM12S powered subwoofers which are connected to a pair of DLM8 powered loudspeakers to please your audience Aux sends 1 and 2 are connected to DLM8 powered loudspeakers used as stage monitors to please the band Digital reverb and delay processors are connected to aux sends 3 and 4 with the aux sends set to post level Effects are added to the main mix via the stereo return inputs and adjusted with the stereo return level control The RCA tape inputs and outputs are connected to a laptop It s an easy way to get a stereo recording of the live show for posterity and crank your featured playlist over the PA between bands Live Stereo PA System Owner s Manual 1604 24 Converting To Rackmount Mode Not only is the 1604VLZ4 a compact professional quality tabletop mixey it s rack mountable The unique rotating input pod makes this possible With a trusty phillips screwdriver nerves of steel grit determination charming good looks and a few moments of your valuable time it may be converted from desktop mode from the factory to rackmount mode 1 Turn off the power and remove ALL the cords from the mixer power cord audio lam
50. eturn signals to their respective aux send 6 outputs To aux send 1 feeds stereo return 1 to aux send 1 master and To aux send 2 feeds stereo return 2 to aux send 2 master They are off when turned fully down deliver unity gain at the center detent and can provide up to 15 dB of gain turned fully up Stereo return 3 and 4 have no such knobs 1604VLZ4 53 Main Mix To Subs Stereo Return 3 With this switch up stereo return 3 behaves like all the others it delivers a stereo signal regulated by its level knob to the main mix When you engage this switch the signals are removed from the main mix buses and sent to the 1 2 3 4 switch which diverts the signal once more We re not finished Please read on 54 1 2 3 4 Stereo Return 3 If the main mix to subs 53 switch is disengaged this switch does absolutely nothing Let s now assume it s engaged Stereo return 3 s stereo signal will not be sent to the main mix but to subgroup faders 1 and 2 this switch up or subgroup faders 3 and 4 this switch down Let s say you ve made a stereo drum submix on subgroup faders 1 and 2 so you can ride those two faders instead of the seven channels that the drums came from Subgroup fader 1 has its assign to main mix 39 left button engaged and subgroup fader 2 has its assign to main mix right button engaged blending the drum submix back into the main mix The drum channels are also sending signals to your reve
51. fect for special occasions Mults and Y s A mult or connector allows you to route one output to two or more inputs by simply providing parallel wiring connections You make Y s and mults for the outputs of both unbalanced and balanced circuits Remember Only mult or Y one output into several inputs If you need to combine several outputs into one input you must use a mixer not a mult or a Y VERY IMPORTANT RETURN SEND TO MIXER CHANNEL INSERT Y cord insert cable Owner s Manual yenueyy 604V LZ 4 Appendix C Technical Information fi Specitications Main Mix Noise Impedances 20 Hz 20 kHz bandwidth 1 4 Main out channel gains Mic in 2 5 unity gain channel EQs flat all channels assigned to Main Mix Channel Insert return 25 odd channels panned left even channels panned right All other inputs 10 or greater Main Mix fader unity channel faders down 88 5 dBu 1 1 KQ 92 dB Signal to Noise Ratio ref 4 dBu All other outputs 120 Q Main Mix fader unity channel faders unity 82 5 dBu PIPIRI EQ Total Harmonic Distortion THD High Shelving a 1 kHz 35 dB gain 20 Hz 20 kHz bandwidth Mid Peaking 15 dB sweep 100 Hz 8 kHz Mic in to insert send lt 0 0007 Low Shelving 15 dB 80 Hz Mic in to Main Out lt 0 005 Low Cut Filter 18 dB octave 3 dB 75 Hz
52. for this product please visit www 720trees com The Product Warranty together with your invoice or receipt and the terms and conditions located at www 720trees com constitutes the entire agreement and supersedes any and all prior agreements between LOUD and Customer related to the subject matter hereof No amendment modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written instrument signed by the party to be bound thereby Owner s Manual 35 16220 Wood Red Road Woodinville WA 98072 USA Phone 425 487 4333 Toll free 800 898 3211 Fax 425 487 4337 www 720trees com
53. gned but it will be interrupted as usual if a solo 27 switch is engaged Let s pretend you re doing live mix to a 2 track deck a house PA or both and you want to play along to a click track You could run the click track directly into the main mix but you don t want the mixdown deck and or audience to hear it By gum this is the switch for you Similarly it can be used for voice over tracks narration anything you want heard by the engineer and players but not by the audience and mixdown deck 56 Returns Solo and LED This switch operates just like the channel solo 27 switches engaging it sends signals to the control room headphones and meter display and interrupts whatever happened to be there before you soloed It follows the mode 44 switch setting as well The only difference is that when you engage this returns solo switch it sends all four stereo returns signals to the solo circuit Assume you want to solo the snare drum Hit that channel s solo switch and you get the dry no effects snare only That helps but you want to hear it with the reverb you have patched into a stereo return Leaving that channel s solo switch engaged also engage the returns solo switch and now you ll get the dry snare and its reverb Since it is a global feature you ll also get the signals from all the other stereo returns so there may be some sounds that you didn t want to hear If they offend your sensibi
54. he various pieces of equipment This usually will not be a problem in making connections e When connecting a balanced output to an unbalanced input be sure the signal high hot connections are wired to each other and that the balanced signal low cold goes to the ground earth connection at the unbalanced input In most cases the balanced ground earth will also be connected to the ground earth at the unbalanced input If there are ground loop problems this connection may be left disconnected at the balanced end e When connecting an unbalanced output to a balanced input be sure that the signal high hot connections are wired to each other The unbalanced ground earth connection should be wired to the low cold and the ground earth connections of the balanced input If there are ground loop problems try connecting the unbalanced ground earth connection only to the input low cold connection and leaving the input ground earth connection discon nected e some cases you will have to make up special adapters to interconnect your equipment For example you may need a balanced XLR female connected to an unbalanced 1 4 TS phone plug 1604VLZ4 TRS Send Receive Insert Jacks Single jack inserts are three conductor TRS type 1A phone They are unbalanced but have both the mixer output send and the mixer input return signals in one connector See the illsutration below The sleeve is the common groun
55. ies Inc All Rights Reserved 25 CHANNEL 15 A CLEAN 15 26 ASSIGN 1 2 3 4 1 15 27 SOU vavcen occusivccasccasciensaasscesssxevassevesscaesers 16 26 20 SOLO VED sssassiciscssscsctestescsecasossasces 16 29 OL LED ccccccccssssccsssssseesese 16 BOS MUTE 16 Sis PAN 17 STEREO SOURCES cccccccccccescecssessoes 17 CONSTANT LOUDNESS 17 32 3 BAND MID SWEEP 17 33 LOW CUT 18 34 AUX 1 52 3 6G 18 35 18 36 D6 18 OUTPUT SECTION 19 37 MAIN MIX 19 38 SUBGROUP 19 39 ASSIGN MAIN 19 40 TAPE IN LEVEL sscssssssssesscsssescssssecssscaasons 20 41 TAPE TO MAIN 20 42 SOURCE csccscccssscsccccecsccccsescecssessoes 20 43 CR PHONES ccccccssssesssessseresesereseres 20 44 MODE 21 45 LEVEL SET 21 46 SOLO LEVEL scccsssascccsecsssssessceassvesassssascee 21 47 RUDE SOLO
56. ime to ramp itself down to zero volts So if you ve turned phantom power off to connect something to the mic inputs wait until the LED stops glowing and then make your connections safely 24 BNC Lamp Socket Located in the top right corner of the output section this 12V socket will drive any standard BNC type lamp a Littlite 12G or 12G HI high intensity for instance Channel Strip Description The 16 channel strips look alike and function identically So if you learn one you have learned them all The only difference is that the eight on the left have direct out 5 jacks and the eight on the right don t We ll start at the bottom and work our way up A U Like Unity Gain 25 VLZ4 mixers have 0 symbol on almost every level control This U stands for unity gain meaning no change in signal level Once you have performed the level setting procedure you can set every control at U and your signals will travel through the mixer at optimal levels What s more all the labels on our controls are measured in decibels dB so you ll know what you re doing level wise if you choose to change a control s settings 8 seine 2 N 7 N 1 8 soins 5 4 2 I RZ O ee 25 Channel Fader The fader is almost the last control in a channel s signal
57. l be a green light to set levels If you tried to set levels during AFL mode the meter display would be at the mercy of the channel fader and that would be a big problem 46 Solo Level This knob controls the level of the signals coming from the solo system After the solo level is determined the solo signals will proceed to take over the control room headphones and meter display Once again PFL solo taps the channel signal before the fader If you have a channel s fader set way below U unity gain PFL solo won t know that and will send a unity gain signal to the control room headphones and meter display This may result in a startling level boost at these outputs depending on the position of the solo level knob VERY IMPORTANT 47 Rude Solo Light This flashing LED light emitting diode serves two purposes to remind you that in solo and to let you know that you re mixing on a 1604VLZ4 No other company is so concerned about your level of solo awareness We even force the soloed channel s 20 LED to play along so you can find that rogue switch fast If you work on a mixer that has a solo function with no indicator lights and you happen to forget you re in solo you can easily be tricked into thinking that something is wrong with your mixer Hence the rude solo light It s especially handy at about 3 00 in the morning when no sound is coming out of your monitors even though your m
58. lities simply turn down the levels of the stereo returns you don t want to hear or mute the channels feeding the unwanted signal to the effects device you do want to hear Congratulations You ve just read about all the features of your 1604VLZ4 You re probably ready for a cold one Go ahead The rest of the manual can wait yenueyy Owner s Manual 25 Appendix A Service Inf i N Appendix A Service Information gt Warranty Service Repair If you think your 16049 124 has a problem please For warranty service refer to the warranty check out the following troubleshooting tips and do information on page 35 your best to confirm the problem Visit the Support section of our website www 720trees com where you will find lots of useful information such as FAQs and other documentation You may find the answer to the problem without having to send your mixer away Non warranty service is available at a factory authorized service center To locate the nearest service center visit www 720trees com click Contact Tech Support and select Locate a Service Center or Distributor 3 Service for a 1604VLZ4 living outside the United States may be obtained through Troubleshooting local dealers or distributors If you do not have access to our website you can Bad Channel call our Tech Support department at 1 800 898 3211 Monday Friday normal business hours Pacific Time e Are the channels as
59. n a nice clean and dry environment free from dryer lint and dust bunnies Zero the controls 1 Fully turn down all the knobs and faders to minimum except for the channel EQ and pan controls which should be centered 2 Make sure all buttons are in the out position Connections 1 Make sure the AC power switch is off before making any connections WARNING Before plugging the AC power cord into the mixer make sure the VOLTAGE SELECTOR switch is set to the same voltage as the local AC mains supply see page 13 VERY IMPORTANT 2 Push the linecord securely into the IEC connector on the rear panel and plug it into a 3 prong AC outlet The mixer may accept any AC voltage ranging from 100 VAC to 240 VAC 3 Plug a balanced microphone into one of the mic XLR 8 pin connectors Or connect any line level signal keyboard or guitar preamp to a line input jack using a TS or a TRS 1 4 plug 4 Ifyour microphone requires phantom power turn on the 48V phantom power button 5 All 16 channels have insert jacks that can be used to connect an external effects or dynamics processor into the signal chain 6 Connect the TRS 1 4 main outputs of the mixer to the line level inputs of your amplifier with speakers already attached or to the line level inputs of powered speakers Set the levels It s not even necessary to hear what youre doing to set optimal levels But if you d like to Plug headphones into the phones o
60. n a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur ina installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures e Reorient or relocate the receiving antenna Increase the separation between the equipment and the receiver Connect the equipment into an outlet on a circuit different from that to which the receiver is connected at the dealer or an experienced radio TV technician for elp CAUTION Changes or modifications to this device not expressly approved by LOUD Technologies Inc could void the user s authority to operate the equipment under FCC rules 21 This apparatus does not exceed the Class A Class whichever is applicable limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications ATTENTION Le pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites aux appareils num riques de class A de class B selon le cas prescrites dans le r glement sur le brovillag
61. nal Channel Insert jack Direct out with no signal interruption to master Insert only to first click Direct out with signal interruption to master Insert all the way in to the second click Channel Insert jack For use as an effects loop Tip Send TO effect Ring Return FROM effect Channel Insert jack Using the Send Only on an Insert Jack Y cord splitter cable IP SEND FROM PROCESSOR OUTPUT PROCESSOR INPUT VLZ4 Stereo Inputs and Returns Mono Stereo Whatever Stereo line inputs and stereo returns are a fine example of our philosophy which we just made up of Maximum Flexibility with Minimum Headache The inputs and returns will automatically be mono or stereo depending upon how you use the jacks Here s how it works mono signal should be patched into the input or return jack labeled left mono The signal will be routed to both the left and right sides of the return circuit and will show up in the center of the stereo pair of buses it s assigned to or it can be panned with the pan 26 control A stereo signal having two plugs should be patched into the left mono and the right input or return jacks A jack switch in the right jack will disable the mono function and the signals will show up in stereo mono signal connected to the right jack will show up in the right bus only You probably will only want to use this sophisticated ef
62. ng from 100 Hz to 8 kHz and hi shelving at 12 kHz It s probably all the EQ you ll ever need Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency For example the 1604VLZ4 s low EQ boosts bass frequencies below 80 Hz and continuing down to the lowest note you never heard Peaking means that certain frequencies form a hill around the center frequency The low EQ provides up to 15 dB boost or cut below 80 Hz The circuit is flat no boost or cut at the center detent posi tion This frequency represents the punch in bass drums bass lt guitar fat synth patches and some really serious male singers who eat broken glass for breakfast 10 20h Used in conjunction with the low cut 88 switch you can boost the low EQ without injecting a ton of subsonic debris into the mix We recommend using the low cut feature on all channels except low frequency signals like kick drums and bass guitars The mid EQ or midrange has a fixed bandwidth of 1 octave The mid knob sets the amount of boost or cut up to 15 dB and is effectively bypassed at the center detent The frequency knob sets the center frequency sweepable from 100 Hz to 8 kHz
63. o signal com ing from the tape input 12 RCA jacks Its range is off when fully down unity at the center detent with 20 dB additional gain turned fully up which may come in handy if you ve patched in a device with wimpy output levels After the level is determined the stereo tape signal can be sent to either of two places the main mix or the source 42 matrix WITH ONYX PREAMPLIFIERS Ja 4 4 M _TO AUX ILR r 1 N g 20 15 F FG 4 TO AUX ILR 2 N N g 20 co 15 VAN ASSIGN OPTIONS GF I 1 2 5085 72 34 F __ _ RETURNS 20 ONLY SOLO STEREO RETURNS LEFT RIGHT 0 dB 0 dBu Q2 6 10 6 7 O 4 O 2 se m Q 0 2 I SZ 0 SUBS 1 2 SUBS 3 4 SOLO SET 07 1 2 gt MAIN MIX MODE CR PHONES SOURCE L RUDE PFL SOLO 1604VLZ4 41 Tape To LR Engaging this switch is just like engaging the L R switch on a channel the signal stereo in this case is sent to the main mix It does not interrupt other signals just adds itself to them This switch can be very handy in a live sound situation when you want to play soothing elevator music to an anxious crowd WARNING Engaging tape to main mix can create a feedback path between tap
64. o such control they ll just send their mixes directly to their respective aux send outputs at unity gain These knobs go from off turned fully down to unity gain at the center detent with 10 dB of extra gain turned fully up As with some other level controls you may never need the additional gain but if you ever do you ll be glad you bought 1604VLZ4 This is usually the knob you turn up when the lead singer glares at you points at his stage monitor and sticks his thumb in the air It would follow suit that if the singer stuck his thumb down you d turn the knob down but that never happens 50 Aux Sends Solo Once again in live sound situations aux send 1 and 2 are likely to feed your stage monitors You ll want to check the mix you re sending them and that s what these two buttons are for Aux 3 through aux 6 have no such switch Beside each switch is a green LED that just like the channel s 20 LED 28 helps you find the rogue solo switch The only thing different about aux sends solo is that it s not really PFL pre fader listen and it s not really SIP solo in place it s actually AFL after fader listen During AFL 44 mode you ll get aux send 15 solo signal post aux sends 49 master level in the left side of the control room outputs phones output and meter display and aux send 2 on the right side If you ever use aux 1 and 2 to create a stereo monitor mix you ll understand why In
65. or yenueyy Located on the bottom panel is a voltage selector switch WARNING Before you plug the AC power cord into the 1604VLZ4 you must make sure that this slide switch is set to the same voltage as the local AC mains supply Only slide the voltage switch with the power cord unplugged nove wheel Use a flat headed screwdriver to slide the switch if needed The switch allows you to use the mixer in different countries and voltages meet interesting people from other cultures and entertain them 18 Power Connection Just in case you lose the cord provided with the 1604VLZA4 its power jack accepts a standard 8 prong IEC cord like those found on most professional recorders musical instruments and computers WARNING Before you plug the AC power cord into the 1604VLZ4 you must make sure that the voltage selector 17 slide switch is set to the same voltage as the local AC mains supply WARNING Disconnecting plug s ground pin can be dangerous Don t do it 5 Owner s Manual MAIN INSERT TIP SEND SUBGROUP OUTS DIRECT OUTS AUX SENDS BAL UNBAL BAL ZUNBAL K NOS se SZ SZ WO E 2 SY 2 SZ i 5090590 19 Fuse The 1604VLZ4 is fused for your and its own protection If you suspect a blown fuse
66. p signal is off when its fader is fully down the U marking is unity gain and fully up provides 10 dB additional gain Remember that if you re treating two subgroups as a stereo pair subgroup l and 2 for example make sure that both subgroup faders ride together to maintain the left right balance 39 Assign To Main Mix One popular use of the subgroups is to use them as master faders for a group of channels on their way to the main mix Let s say you ve got a drum kit hogging up seven channels and you re going to want to fade them out at a different rate than the other channels You don t want to try that with seven hands or seven fingers so just un assign these channels from L R reassign them to subgroup 1 2 engage the assign to main mix left on subgroup 1 and the assign to main mix right on subgroup 2 Now you can ride the entire stereo drum mix with two faders 1 and 2 If you engage just one assign to main mix switch per subgroup left or right the signal sent to the main mix will be the same level as the sub outs 8 If you want the subgroup to appear in the center of the main Owner s Manual 1604 24 mix engage both the assign to main mix left and right switches The signal will be sent to both sides and will be attenuated just enough to preserve constant loudness just like the channel pan 31 knobs when set in the center 40 Tape In Level This knob controls the level of the stere
67. path It s placed after the EQ 82 and mute 30 controls post EQ post mute and before pan 81 control pre pan The U mark about three quarters of the way up indicates unity gain meaning no increase or decrease of signal level All the way up provides an additional 10 dB should you need to boost a section of a song If you find that the overall level is too quiet or too loud with a fader near unity you ll want to confirm the setting by performing the level setting procedure on page 5 A Clean Fade Faders are not rocket science they operate by dragging a metal pin the wiper across a carbon based strip the track It is possible for airborne crud to land on the track Should that happen you may hear scratchy noises or signal dropouts as the wiper stumbles over the crud Do all you can to keep airborne crud out of your profession Use air conditioned rooms whenever possible avoid smoking near the mixer keep food and drink away from the mixer and for pity s sake never put the mixer in your kitchen We also recommend exercising the faders give them a few full travel excursions once a week or so and that will help scare the crud away Do not use spray cleaners rather use compressed air or a vacuum with brush attachment 26 Assign 1 2 3 4 L R Alongside each channel fader four buttons labeled solo 1 2 3 4 and L R The latter three are collectively referred to as ch
68. pect this knob controls the levels of both the stereo control room and the headphones Make sure that you move it to minimum before selecting or adding a new source Whatever your selection you can also use the control room outputs for other applications The sound quality is just as impeccable as the main outputs It can be used as an additional main mix output and this one will have its own level control However should you do this be aware that if you engage a solo 27 switch that will interrupt the mix Engaging a solo switch will cause this dramatic turn of events Any existing source matrix selections will be replaced by the solo signals appearing in the control room headphones and meter display The audible solo levels are controlled by the solo 46 level knob The solo levels appearing on the meter display are not controlled by anything you wouldn t want that You want to see the actual channel level on the display regardless of how loud youre listening 44 Mode AFL PFL The 1604VLZ4 s solo system comes in two flavors AFL sometimes called SIP or solo in place and PFL sometimes called PFL pre fader listen In AFL the soloed channel s signal is sent directly to the control room headphones and meter display just as it would sound to the channel s assignment switches post EQ 32 post fader 25 and post pan 31 The only difference is that solo works regardless of the channel s assignment po
69. ps everything 2 Place the mixer face down on a clean soft surface like a blanket or very large dog 3 Remove the four screws securing the cable cover a and set the plate aside 4 Replace two of the screws the ones at the pod end of the mixer b 5 Remove two pod mounting screws on each side of the mixer 6 Gently pull the pod away from the slots rotate it and place it tabs first into the rackmount tabs d located on the underside of the main chassis Be careful not to constrict or pinch any of the ribbon or power cables Screws remove remove screws N Q use the longer screws that come in a little bag E flush mount 1604VLZ4 rackmount tab slots oj rotate pod 7 Carefully install the pod mounting screws in their new locations d 8 Install the rack ears that came with the mixer using the supplied packet of screws These screws are a bit longer than the ones you have to take out The rack ears may be installed in either of two depths as shown at the bottom of this page e mixer s surface flush with the rack rails like ordinary rackmount equipment or f mixer s surface sunken into the rack to protect the knobs from being bumped NOTE If you remove the rack ears at a later date use the original shorter screws to secur
70. rb via the aux sends 6 and the reverb outputs are patched into stereo return 3 7 So far so good Even though you could send stereo return 3 directly to the main mix main mix to subs 53 switch up you don t want to Instead engage the main mix to subs switch and make sure the 1 2 8 4 switch is up Now the reverb return will be blended into the drum submix and as you ride those two faders the reverb level will follow Why do we want that Because if you had just sent the reverb directly to the main mix main mix to subs switch up and you did a drum fade out using subgroup faders 1 and 2 the dry signals would fade out but the wet signals would keep on singing All you would hear is the drum reverb the wet and none of the original drum signals the That s because the reverb is being fed by the channel s aux sends and they have no idea that you ve pulled down the subgroup faders That s why we threw in these switches phew 55 CR PH Only Stereo Return 4 Once again the default for all the stereo returns is to feed them directly into the main mix You ve just learned about the optional exceptions involving stereo return 8 Stereo return 4 also has an optional exception By engaging this switch you will remove stereo return 4 s stereo signal from the main mix and send it directly to the CR phones source 42 matrix It matters not if any of the source matrix switches are assi
71. re Perhaps the best method is to do both Use the sub outs to feed multichannel submixes like a drum kit to some of the tracks and the direct out jacks to feed single channel signals like bass guitar to the other tracks The point is that you never listen directly to the source channels 1 8 You listen to the monitor chan nels 9 16 and they re listening to the multitrack that is listening to the source channels Make sure to assign the monitor channels 9 16 to the L R mix and not the source channels 1 8 The main advantage is that you won t be forced to constantly repatch your multitrack just set it up and forget it You ll also know for certain that the signals are indeed getting to the multitrack since you re constantly listening to it Another method of interfacing a multitrack is called inline monitoring and requires a dedicated mixing console Each of its channels is actually two channels one carrying the mic line sound source and the other carrying the multitrack output 6 Aux Sends These 1 4 jacks usually patch to the inputs of a parallel effects devices or to the inputs of stage monitor amps For details see Aux Talk on page 23 Effects Serial Or Parallel You ve heard us carelessly toss around terms serial and parallel Here s what we mean by them Serial means that the entire signal leaves the mixer insert 4 send is routed through the effects device and ret
72. re routed from these inputs see stereo return level 51 on page 23 Mono If you have an effects device with a mono output one cord plug that into the left input of a stereo return and leave the right input unplugged That way the signal will be sent to both sides magically appearing in the center as a mono signal 8 Sub Outs These four 1 4 jacks are usually patched to the inputs of a multitrack deck or to secondary amplifiers in a complex installation To learn how signals are routed to these outputs see subgroup faders 88 page 19 Double Busing How on earth do you get four jacks to feed eight tracks To feed an 8 track deck with only four sub outs simply use four Y cords e Sub Out 1 feeds tracks 1 and 5 e Sub Out 2 feeds tracks 2 and 6 e Sub Out 3 feeds tracks 3 e Sub Out 4 feeds tracks 4 and 8 Tracks in record mode will accept the signal and tracks in safe mode will ignore the signal It s that easy 5 This method is exactly same as double busing feature found in other mixers Built in double busing is nothing more than Y cords living inside the mixer instead of hanging out the back If we had room for the extra jacks we would have thrown them in but we don t so we didn t Sonically there is no difference Y cord advice Do not use the stereo headphone to left right splitter adapters Use the type that send the same signal to two places the tip of the source plug f
73. record ready status multitrack machine 0200 go 00000 gg gg 112000400700 direct outputs outputs The outputs of the multitrack are then patched to the next eight line 2 inputs on the 1604VLZ4 multitrack out 1 to line input 9 2 to 10 to 11 etc These channels 9 16 will be assigned to the mixer s output section delivering the signals to their ultimate destination which may be your mixdown 2 track your control room system or your headphones But let s not forget that the 1604VLZ4 is a 4 bus mixer These buses lead to the sub outs 8 and are designed to accomplish the task of getting channels to the multitrack without using the direct outputs For example a channel is assigned to sub out 1 Sub out 18 output is patched to multitrack input 1 From there the multitrack output goes to the mixer s channel 9 line input as we just discussed Hot tip To feed an 8 track deck with 4 sub outputs simply use Y cords sub out 1 feeds tracks 1 and 5 2 feeds 2 and 6 3 feeds 3 and 7 and 4 feeds 4 and 8 Tracks in record mode will accept the signal and tracks in safe mode will ignore the signal The advantages You can assign any channel to any track without repatching You can assign multiple chan nels to one track and control the overall level of that subgroup You can t bounce tracks without this featu
74. s or to the house amplifier during live sound sessions To learn how signals are routed to these outputs see main mix 87 fader details on page 19 To use these outputs to drive balanced inputs connect 1 4 TRS Tip Ring Sleeve phone plugs like this Tip Positive or hot Ring Negative or cold Sleeve Shield or ground To use these outputs to drive unbalanced inputs connect 1 4 TS Tip Sleeve phone plugs like this Tip Positive or hot Sleeve Shield or ground 15 Mono Out It happens to everybody sooner or later The forces that govern your world will demand a monaural output from your painstakingly created stereo panorama The last thing you want to do is start twirling all your carefully placed pan settings to one side What to do Stick a cord in this 1 4 jack hand the other end to Mr Mono and you re done He s got his mono mix and you ve still got your stereo mix The mono output is nothing more than a mix of the left and right main mix 16 Mono Level So Mr Mono comes running back screaming about the mono mix being so loud that his camcorder is melting Just reach for this knob and turn it down abit Just the thing for sending mono signals to mic inputs like camcorders telephone interface boxes even answering machines With the pot all the way up fully clockwise you ll have 6 dB of extra gain with unity gain halfway between the one and two o clock positions 17 Voltage Select
75. signed to the correct mix to explain the problem Tech Support will tell you where 1 2 3 4 L R the nearest factory authorized service center is located e 15 the fader up in your area Try unplugging any insert devices from the insert jacks e Try the same source signal in another channel set up exactly like the suspect channel Bad Output e 15 the level control if any turned up listening to the CR outs or phones outputs has a source selection been made If it s one of the main outs try unplugging its companion For example if it s the 1 4 left main out unplug the RCA output If the problem goes away it s not the mixer Appendix B Connections e If it s a stereo pair try switching them around For example if a left output is presumed dead switch the left and right cords at the mixer Balanced XLR Input Connector end If the problem stays on the left it s not the iiet The 1604VLZ4 mixer has 16 female XLR inputs Be sure the cables are wired per AES Audio e Unplug everthing from the main inserts Engineering Society standards Noise Balanced XLR Input Connector Pin 1 Shield Ground Pin 2 Positive or hot Pin 3 Negative or cold e Turn the channel faders and stereo return knobs down one by one If the sound disappears it s either that channel or whatever is plugged into it so unplug whatever that is If the noise disappears it s from
76. sitions and that makes it really handy you can check out a channel before you assign it AFL is the preferred mode during mixdown If the channel has some midrange boost at 4 236kHz is panned a smidgen to the left and its fader is at 5 385dB that s exactly what you ll hear if you solo during AFL mode It s just as if you took the time to mute all the other channels PFL solo is the key player in the all important level setting procedure 1611 send the channel s actual internal levels to the meters so you ll know just what s going on level wise This procedure should be performed every time a new sound source is patched into a channel s mic 1 or line 2 input jacks PFLis also the preferred mode for SR sound reinforcement or live sound to preview channels before they are let into the mix It won t give you stereo placement but will give you signal even if the fader is turned down VERY IMPORTANT below U unity gain solo won t know that and will send a unity gain signal to the control room headphones and meter display That may result in a startling level boost at these outputs depending on the position of the solo 46 level knob Remember PFL taps the channel signal before the fader If you have a channel s fader set way 45 Level Set LED When the mode switch 44 is engaged it s in PFL mode the mode you must be in to set levels Now when you engage any solo switch this LED wil
77. u want to feed a mono signal to your tape deck or other device simply use the 1 4 mono 15 output jack 12 Tape In These unbalanced RCA jacks are designed to work with semipro as well as pro recorders Connect your 2 track tape recorder s outputs here using standard hi fi RCA cables To learn how signals are routed from these inputs see tape in level 40 on page 20 Use these jacks for convenient playback of mixes You ll be able to review a mix and then rewind and try another pass without repatching or disturbing the mixer levels You can also use these jacks with a CD player to feed music to a PA system between sets WARNING Pushing tape to main mix 41 in the output section can create a feedback path between tape input and tape output Make sure your tape deck is not in record record pause or input monitor mode when you engage this switch or make sure the tape in level knob is fully counter clockwise off VERY IMPORTANT 13 Main Insert These 1 4 jacks are for connecting serial effects such as compressors equalizers de essers or filters The insert point is after the mix amps but before the main mix 37 fader Insert cables must be wired thusly Tip send output to effects device Ring return input from effects device Sleeve common ground 14 Main Outs These 1 4 jacks are usually patched to the inputs of your 2 track mixdown deck unless you ve chosen to use the tape output 11 RCA jack
78. ultitrack is playing back like mad Owner s Manual yenueyy 1604 24 48 Meters The 1604VLZ4 s peak metering system is made up of two columns of twelve LEDs Deceptively simple considering the multitude of signals that can be monitored by it If nothing is selected in the source 42 matrix and no channels are in solo 27 the meter display will just sit there To put them to work you must make a selection in the source matrix or engage a channel s solo switch Why You want the meter display to reflect what the engineer is listening to and as we ve covered the engineer is listening either to the control room output or the headphones The only difference is that while the listening levels are controlled by the CR phones 48 knob the meter display reads the source mix before that control giving you the real facts at all times even if you re not listening at all When the solo mode 44 switch is set to PFL down all soloed signals will be sent to the left meter only That combined with the level set LED 45 are along the path of enlightenment known as the level setting procedure page 5 During AFL mode the meters will behave normally U LEFT RIGHT LAN 0 dB 0 dBu 1 9 CR PHONES TAPE IN 0 7 O O 4 TOLR 2 1 09 o 1 2 45 LEVEL 2 SOLO SET 7 O 1 O 20
79. urns to the mixer insert return Examples compressor limiters graphic equalizers Processed Signal Insert Insert Send 2 Return 9 0 0 7 Signal Processor Dry Signal Compressor Parallel means that a portion of the signal in the mixer is tapped off to the device aux send processed and returned to the mixer stereo return to be mixed with the original dry signal This way multiple channels can all make use of the same effects device Examples reverb digital delay Aux Aux Output Send _ Return Section 9 0 0 Signal Processor e g Reverb Wet Signal gt Mix Processed Channel Fath Stage Signal Dry Signal s Dry Signal s Owner s Manual t 7 N m S 777 ax mee REFLRRE 000000600 S SH SF wig SF 2 ZEX AS Avr AB AW Az gt 27 2 2 2 ND RING RETURN N 1 72 ap ZN 5 A 2 22 2 SZ 22 2 22 0000 0 MPs ONYX ie PR 7 Stereo Returns This is where to connect the outputs of parallel effects devices or extra audio sources They ll accept just about any pro or semipro effects device on the market To learn how signals a
80. utput jack then turn up the CR phones knob just a little 1 Turn on the mixer by pressing the top edge of the power switch 2 For one channel press the solo switch in 3 Engage the mode switch in the master section A green level set light will turn on 4 Play something into that input at real world levels 5 Adjust that channel s gain control until the left main meter stays around the 0 dB LED marked level set and never goes higher than 7 Disengage the channel s solo switch Repeat steps 2 to 6 for the remaining channels Turn up the channel fader to the U mark Slowly turn up the main mix fader until you hear the signals in the headphones 10 Ifneeded apply some channel EQ wisely 11 Adjust the channel faders to get the best mix Keep the gain controls and levels fully down on unused channels 12 During the performance if you notice a channel OL LED turning on during peaks carefully turn down that channel s gain control until OL does not turn on Things to Remember e Never listen to loud music for prolonged periods Please see the Safety Instructions on page 2 for information on hearing protection e Always turn down the main mix fader and control room phones knob down when making connections to the mixer Better yet turn off the power e When shutting down turn off any power amplifiers or powered speakers first When powering up turn them on last This will r
81. utputs They are off when turned fully down deliver unity gain at the center detent and can provide up to 15 dB of gain turned fully up Chances you ll never need this extra gain but it s nice to know it s there if you do The aux send outputs are then patched to parallel effects processor inputs or stage monitor amp inputs Aux sends 1 and 2 levels are controlled not only by the channel s aux knobs but also by the aux send 49 master knobs Aux sends can also be used to generate separate mixes for recording or mix minuses for broadcast By using aux 1 or 2 in the pre 85 mode these mix levels can be obtained independently of a channel s fader 25 settings 1604VLZ4 We recommend going into a stereo reverb in mono and returning in stereo We have found that on most stereo reverbs the second input just ties up an extra aux send and adds nothing to the sound There are exceptions so feel free to try it both ways Should you choose to use two aux sends use the odd aux 1 3 or 5 to feed its left input and the even aux 2 4 or 6 to feed the right input Remember if you re also dealing with a stereo source signal you ll want to follow the sides use the odd aux on the channel carrying the left side and the even aux on the channel carrying the right 35 Pre This switch determines the tap point of aux 1 and 2 Generally post sends are used to feed effects devices and

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