Mackie 1604-VLZ 用户手册
2
Specifi cations footnotes:
1) 20Hz–20kHz bandwidth, 1/4" Main out, Channel Trims @ unity gain, channel EQs fl at, all
1) 20Hz–20kHz bandwidth, 1/4" Main out, Channel Trims @ unity gain, channel EQs fl at, all
channels assigned to Main Mix, odd channels Pan left, even channels Pan right. Reference
+4dBu.
+4dBu.
2) 1kHz @ +14dBu, 20Hz–20kHz.
3) 1kHz relative to 0dBu, 20Hz–20kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity.
4) Any input to any output.
3) 1kHz relative to 0dBu, 20Hz–20kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity.
4) Any input to any output.
Specifi cations
Mic Preamp
Equivalent Input Noise (20Hz–20kHz):
Equivalent Input Noise (20Hz–20kHz):
150
Ω –129.5dBu
50
Ω –131.0dBu
0
Ω –134.5dBu
Frequency Response:
–1dB 5Hz–100kHz
–3dB 3Hz–192kHz
–3dB 3Hz–192kHz
IM Distortion (4:1 SMPTE),35dB gain 0.0008%
Harmonic Distortion (20Hz–20kHz), 35dB gain 0.0007%
Gain:
Harmonic Distortion (20Hz–20kHz), 35dB gain 0.0007%
Gain:
Max +60dB
Min 0dB or Unity
Min 0dB or Unity
Max Input +22dB
Input Impedance 1.3k
Input Impedance 1.3k
Ω
Common Mode Rejection > 90dB
Common Mode Rejection Ratio > 140dB
Common Mode Rejection Ratio > 140dB
Main Mix Noise
1
Main Mix fader @ unity, ch. faders down: –90.5dB
Main Mix fader @ unity, ch. faders @ unity: –88.0dB
Main Mix fader @ unity, ch. faders @ unity: –88.0dB
Total Harmonic Distortion (THD)
2
0.005%
Attenuation (Crosstalk)
3
Channel Mute switch engaged: –84dBu
Channel Fader down: –84dBu
Channel Fader down: –84dBu
Frequency Response
4
20Hz to 60kHz: +0dB/–1dB
20Hz to 100kHz: +0dB/–3dB
20Hz to 100kHz: +0dB/–3dB
Other Maximum Levels
All other inputs: +22dBu
Main Mix 1⁄4” TRS outputs: +28dBu
All other outputs: +22dBu
All other inputs: +22dBu
Main Mix 1⁄4” TRS outputs: +28dBu
All other outputs: +22dBu
Other Impedances
Channel Insert return: 2.5k
Channel Insert return: 2.5k
Ω
All other inputs:
>
10k
Ω
Tape out: 1.1k
Ω
All other outputs: 120
Ω
EQ
High Shelving: ±15db @ 12kHz
Mid Peaking: ±15dB, sweep 100Hz–8kHz
Low Shelving: ±15db @ 80Hz
Low Cut Filter: 18dB/octave, –3dB @ 75Hz
High Shelving: ±15db @ 12kHz
Mid Peaking: ±15dB, sweep 100Hz–8kHz
Low Shelving: ±15db @ 80Hz
Low Cut Filter: 18dB/octave, –3dB @ 75Hz
Power Consumption
120VA.C., 50/60Hz, 50 watts
120VA.C., 50/60Hz, 50 watts
Physical
Dimensions see drawings on page 4 & 5
Weight 20 lbs. (9.1kg)
Dimensions see drawings on page 4 & 5
Weight 20 lbs. (9.1kg)
at regular intervals to mount thick fi berglass
circuit boards inside the mixer.
circuit boards inside the mixer.
Radio frequency interference from TV/radio
stations and cellular phone users is virtually
eliminated, thanks to Mackie’s new XDR mic
preamp design.
eliminated, thanks to Mackie’s new XDR mic
preamp design.
The mixer’s built-in power supply is beefy
enough to handle major power consumption
without breaking up. And there’s no bulky “wall
wart” to be kicked out of place or to cover up
extra outlets.
without breaking up. And there’s no bulky “wall
wart” to be kicked out of place or to cover up
extra outlets.
All of this adds up to an extremely durable
mixer that can withstand major use and
misuse. Multi-user applications like churches,
night clubs, A/V rooms and schools are perfect
homes for the 1604-VLZ PRO.
misuse. Multi-user applications like churches,
night clubs, A/V rooms and schools are perfect
homes for the 1604-VLZ PRO.
Sixteen XDR mic preamps deliver the fi nest
quality sound ever offered in a compact mixer.
They cannot be damaged by hot patching. And
they are impedance-independent: frequency
response remains the same whether the mic
preamp is presented with an extremely high or
low-impedance load. Additionally, each chan-
nel has its own switchable low cut fi lter
(18dB/octave @ 75Hz), so mic thumps, room
rumble and stage mishaps are left out of the
mix without diminishing the audible bass fre-
quency range.
They cannot be damaged by hot patching. And
they are impedance-independent: frequency
response remains the same whether the mic
preamp is presented with an extremely high or
low-impedance load. Additionally, each chan-
nel has its own switchable low cut fi lter
(18dB/octave @ 75Hz), so mic thumps, room
rumble and stage mishaps are left out of the
mix without diminishing the audible bass fre-
quency range.
Four buses add mixing fl exibility. Channels
can be assigned to buses 1-2, 3-4 and/or Main
Mix L/R, and the 4 subs can be assigned to
left and/or right main mix. A Control Room/
Phones source matrix lets you route any com-
bination of tape, subs 1-2, 3-4, main mix or
Aux Return 4 to headphones, control room out-
puts, and meters. This enables you to monitor
2-track tape output or route a click/cue track
to phones, create special phones or broadcast
mixes via the subs, or create an extra stereo mix
(with its own gain control) for another zone, like
Mix L/R, and the 4 subs can be assigned to
left and/or right main mix. A Control Room/
Phones source matrix lets you route any com-
bination of tape, subs 1-2, 3-4, main mix or
Aux Return 4 to headphones, control room out-
puts, and meters. This enables you to monitor
2-track tape output or route a click/cue track
to phones, create special phones or broadcast
mixes via the subs, or create an extra stereo mix
(with its own gain control) for another zone, like