Mackie 1642-VLZ3 Manual De Usuario

164

2-

VLZ3

At the risk of stating the obvious, this is where you 

plug everything in: microphones, line-level  instruments 
and effects, and the ultimate destination for your sound: 
a tape recorder, PA system, etc. Many of the features de-
scribed in this section are on top of the mixer, but some 
are on the rear panel.

See Appendix B for further details and drawings of 

the connectors you can use with the 1642-VLZ3. Also see 
the Channel Strip description on page 14 for details of 
the signal routing from the XLR and Line inputs.

Concerned about levels, balancing, imped-

ances, polarity, or other interface goblins? 

Don’t be. On your 1642-VLZ3, you can patch anything 
almost anywhere, with nary a care. Here’s why:

• 

Every input and output is balanced  (except 
inserts, phones and RCA jacks).

• 

Every input and output will also accept unbal-
anced lines (except XLR jacks).

• 

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 Pro-

cedure on page 3, every time you patch in a new sound 
source. So stop worrying and start mixing!

Channels 1-8 are mono channels with MIC [1] and 

LINE [2] inputs, featuring our XDR2 Extended Dynamic 
Range mic preamp circuitry. Channels 9-10 and 11-12 
are stereo pairs with left and right LINE inputs and a 
single MIC input feeding each pair. Channels 13-14 and 
15-16 are stereo pairs with LINE inputs only.

We use phantom-powered, balanced microphone 

inputs just like the big studio mega- consoles, for 
exactly the same reason: This kind of circuit is excel-
lent at rejecting hum and noise. You can plug in almost 
any kind of mic that has a standard XLR-type male mic 
connector. Always be sure to perform the Level-Setting 
Procedure. If you wire your own connectors, make them 
like this:

Pin 1 = ground or shield 

Pin 2 = positive (+ or hot)

Pin 3 = negative (– or cold) 

Professional ribbon, dynamic, and condenser mics will 

all sound excellent through these inputs. The 1642-
VLZ3’s mic inputs will handle almost any kind of mic 
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 and high-frequency signal loss. 
Ask your dealer or guitar maker about their recommen-
dations for a good DI box. 

Most condenser mics require phantom power, where 

the mixer sends low-current DC voltage to the mic’s 
electronics through the same wires that carry audio. 
The 1642-VLZ3’s phantom power is globally controlled 
by the PHANTOM [22] switch on the rear panel.

Semipro condenser mics often have batteries to ac-

complish the same thing. “Phantom” owes its name to an 
ability to be “unseen” by dynamic mics (Shure® SM57/
SM58, for instance) that don’t need external power and 
aren’t affected by it.

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