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17

Compact Mixer Reference Guide

MIXER ANATOMY: CHAPTER 2

Inputs, Outputs, and Related Controls

Mackie E-Z Interfacing

Concerned about levels, balancing, impedance, 

polarity, or other interface goblins? Don’t be. On 
your Mackie mixer, you can connect almost anything 
almost anywhere, with nary a care. Here’s why:

• 

Every main input and output is balanced .

• 

Every 1/4" input and output jack also accepts 
unbalanced connections.

• 

Every input is designed to accept virtually any 
output impedance. 

• 

The main left and right mix outputs can de-
liver +28 dBu into a 600 ohm load (that’s hot!)

• 

All the other outputs can d22 dBu into 
a 600 ohm load (that’s plenty). 

• 

All the outputs are in phase with the inputs. 

All Mackie mixers have both microphone and line-

level inputs. Some channels have both, some chan-
nels have only line-level inputs. Consult your mixer’s 
quick start guide (or just look at the connector 
panel) for the exact arrangement. Below is the rear 
panel of the 1604-VLZ PRO.

Mic? Line? – What’s The Difference?

Microphones produce a relatively low 

voltage, generally in the range of 1 to 250 
millivolts, depending on the sensitivity of 

the mic, and how loud the sound is. Voltages in the 
0.15 to 3 volt range are considered to be line-level. 
These aren’t rules or standards, just ways of talking 
about two widely different operating voltage ranges, 
both of which are common in audio.

A microphone typically requires 20 to 60 dB of gain 

in order to bring its signal up to the mixer’s operat-
ing level. A line-level signal requires little if any gain, 
and may need to be brought down in level to match 

the mixer. So, while there’s a wide adjustment range 
for both mic and line inputs, the mic inputs have 
higher gain. 

Don’t forget the Level-Setting Proce-

dure at the beginning of this book. Mic 
and line inputs are happiest when run-

ning at the optimum levels. That procedure will get 
you there.

Check the Tips section and Glossary for more infor-

mation about terms we’ll be using here like operating 
level, impedance, balanced, unbalanced, XLR, and 
TRS. Also study the mixer block diagrams, as each 
one is worth a thousand words or more. 

Mic Inputs

Mackie mixers include phantom-powered, bal-

anced XLR microphone inputs just like the big studio 
mega-consoles, and for exactly the same reason: 
A fully balanced circuit is excellent at rejecting 
hum and noise, and phantom powering means that 
condenser mics can be used without external power 
supplies or batteries. 

You can plug in almost any kind of mic that has a 

standard male XLR-type connector without fear of 
overloading the preamp. Professional ribbon, dy-
namic, and condenser mics all sound great through 
these inputs. 

XLR Input Connectors – Mic wiring

Nearly all professional mics are designed to con-

nect to a low impedance input, and employ balanced 
wiring terminating in an XLR-style plug. You’ll fi nd an 
illustration and wiring diagram in the Tips section, 
chapter 9. We use the wiring convention:

Pin 1 = shield
Pin 2 = positive (+ or hot)
Pin 3 = negative (- or cold)

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

4

3

2

1

INSERT

INSERT

INSERT

LINE

INSERT

MIC 4

MIC 3

MIC 2

MIC 1

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

LINE

LINE

LINE

O

O

+6

PHANTOM

ON

POWER

ON

    120 VAC 50/60 Hz 20W

1A/250V SLO-BLO

16

15

14

13

12

11

10

9

8

7

6

5

MIC 16

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

INSERT

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC 9

MIC 8

MIC 7

MIC 6

MIC 5

SUB OUT

C-R OUT

MAIN INSERT

(TIP SEND

RING RETURN)

TAPE

TAPE

MAIN OUT

AUX SEND

DIRECT OUT

AUX RETURN

3

R

L

MONO

R

R

R

R

L

R

L

R

L

R

L

L

L

L

1

4

2

5

1

2

3

4

3

1

6

4

2

7

5

3

8

6

4

1

2

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

BAL/UNBAL

INPUT

OUTPUT

R

L

(MONO)

(MONO)

(MONO)

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

BAL
UN-
BAL

LINE

LINE

LINE

LINE

LINE

LINE

LINE

LINE

LINE

LINE

LINE

LINE

TO REDUCE THE  RISK OF

FIRE REPLACE WITH SAME 

TYPE FUSE AND RATING

CAUTION:

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC • WOODINVILLE • WA • USA • MADE IN USA • FABRIQUE AU USA • COPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR  REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE •  US PATENT NUMBER 29/049,129 

XDR

TM

 EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

XDR

MIC PRE

Summary of Contents for Compact Mixer

Page 1: ...o mega consoles and for exactly the same reason A fully balanced circuit is excellent at rejecting hum and noise and phantom powering means that condenser mics can be used without external power suppl...

Page 2: ...mps for a long time so when it was time to put the engineers to work on some new designs they brought us the Onyx series which includes the 800R This an swers a popular customer request for a rack mou...

Page 3: ...uitar into a LINE IN jack will probably make some sound but the guitar will lose punch and treble The proper way to connect an instrument pickup directly to a Mackie mixer is to use a Direct Box or DI...

Page 4: ...o stage monitors or headphones Hey Flash Your D string is flat The talkback mic has its own volume control and routing switches located in the Master area of the console The 8 Bus console has the talk...

Page 5: ...fer output is fixed relative to the main outputs so be sure that your subwoofer amplifier or powered sub has an adjustable input level for balancing the bass level Don t confuse this subwoofer output...

Page 6: ...by a single fader retaining the balance and pan position set by the channel controls You can individually mic each of the background singers assign their channels to a single subgroup or pair and use...

Page 7: ...d from a pre fader send so that the engineer can create a mix for the musicians on stage and leave it alone once they re happy Turn the drummer up really loud in his monitor and he ll think he s reall...

Page 8: ...foot switch into the EFX FOOT SWITCH jack you can mute the effect return without leaving your performing position If the mixer is in sight the lighted EFX BYPASS LED will remind you of why you re no...

Page 9: ...oring the multitrack recorder returns when tracking ChannelInserts The channel INSERT jacks allow you to break the channel signal path right after the mic preamp stage and its associated TRIM control...

Page 10: ...If you want to use an external mic preamp with your mixer boo hoo or perhaps a Voice Processor combination preamp compressor equalizer de es ser and automatic word rememberer you can com pletely bypa...

Page 11: ...pedance isn t lower than 2 ohms Chances are however that the efficiency of the speakers will be different enough that they ll produce noticeably different volumes This may or may not be what you want...

Page 12: ...ther band can use their mixer together with your PPM using its amplifiers and your speakers On later production PPM mixers these jacks are wired in the normalled through configuration allowing you to...

Page 13: ...12 gooseneck 12G or 12G HI a high intensity version for the smaller consoles and the 18G HI with an 18 goose neck for the larger mixers Buy them from your pro audio dealer Now that we ve worked our wa...

Page 14: ...30 Compact Mixer Reference Guide MIXER ANATOMY CHAPTER 2 Notes...

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