Mackie 1642-VLZ3 Manual De Usuario

Owner’

s Manual

The stereo channels (9-16) have a 4-band, fixed-fre-

quency equalization: LOW shelving at 80 Hz, LOW MID 
peaking at 400 Hz, HI MID peaking at 2.5 kHz, and HI 
shelving at 12 kHz.

Each of these filters provides up to 15 dB of boost or 

cut. As with the mono channels, the circuit is flat (no 
boost or cut) at the center detent positions.

The LOW CUT switch (not present on channels 

13-16), often referred to as a high pass filter, 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 for you.

We recommend that you use this on every sound 

source except kick drum, bass guitar, and 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 frying your woofer. Here’s 
a frequency curve of LOW EQ combined with LOW CUT:

These four knobs tap a portion of each channel’s 

signal, mix them together and send them to the AUX 
SEND [6] outputs. 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 are you’ll 
never need this extra gain, but it’s nice to know it’s 
there if you do.

The AUX SEND outputs can then be patched to paral-

lel 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 [36] mode, 
these mix levels can be obtained indepen-
dently of a channel’s fader settings.

We recommend going into a ste-
reo reverb in mono and return-
ing 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 or 3) to 
feed its left input and the “even” AUX (2 
or 4) 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 carry-
ing the left side and the even AUX on the 
channel carrying the right.

This switch determines the tap point 

of AUX 1 and 2. Generally, “post” sends 
are used to feed effects devices, and “pre” 
sends are used to feed your stage moni-
tors. See the “Pre vs. Post” diagram below. 
AUX 3 and 4 are always in post mode. 

In post mode (switch up), AUX 1 and 2 

will follow the EQ [32], LOW CUT [34], 
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 1 

and 2 follow the GAIN [3] and LOW CUT 
settings only. EQ, PAN [31], 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.

INPUT

GAIN

INSERT

LOW

CUT

EQ

PAN

ASSIGN

MUTE

FADER

'POST' SIGNAL

'PRE' SIGNAL

PRE SWITCH

AUX 1

AUX 2