Mackie 1604-VLZ3 User Manual

1604-

VLZ3

If you want the subgroup to appear in the center of the 
main 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.

This knob controls the level of the stereo 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 . 

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 TAPE IN-
PUT [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.

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 1604-VLZ3, the engineer has several 
choices of what to listen to. This is one of those tricky 
parts — have a double espresso fi rst.

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, engag-

ing 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:

As you might expect, 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:

40

41

42

43

44

47

45

46