Patchbay Description, Interface, MIC Inputs

PATCHBAY DESCRIPTION

At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, and the ulti- mate destination for your sound: a tape recorder, PA system, etc. A few of the features described in this section are on top of the mixer, but most are out back on the “pod.”

E-Z INTERFACE

Concerned about levels,

balancing, impedances, po-

larity, or other interface goblins? Don’t be. On your

CR1604-VLZ, you can patch anything almost anywhere, with nary a care. Here’s why:

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 . To learn how sig- nals are routed from these inputs: . If you wire your own, connect them like this:

SHIELD 2

HOT

COLD 3 1

SHIELD 1

COLD 3 2

HOT

1SHIELD

3COLD

•	Every input and output is balanced
(except insert, phones and RCA jacks).
•	Every input and output will also accept
unbalanced lines (except XLR jacks).

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

HOT

• Every input is designed to accept virtually

any output impedance.

• The main left and right mix outputs can

deliver 28dBu into as low as a 600 ohm load.

• All the other outputs can deliver 22dBu

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

Procedure every time you patch in a new sound source. So stop worrying and start mixing!

MIC/LINE INPUTS ON EVERY CHANNEL

The original CR-1604 had six mic/line chan- nels and ten line-only channels. That was fine for most applications, but live sound users were forced to go out and buy the XLR-10 mic input add-on module. No more. Each and every channel on the New Improved CR1604-VLZ has the legendary Mackie mic/line input circuit. It’s like getting a free XLR-10 with your mixer!

MIC INPUTS

We use phantom-powered, balanced micro- phone inputs just like the big studio mega- consoles, for exactly the same reason: This kind of circuit is excellent at rejecting hum

Professional ribbon, dynamic, and con-

denser mics will all sound excellent through these inputs. The CR1604-VLZ’s mic inputs will handle almost any kind of mic level you can toss at them, without overloading.

PHANTOM POWER

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 CR1604-VLZ’s phantom power is globally controlled by the PHANTOM switch on the rear panel .

Semipro condenser mics often have batter- ies to accomplish the same thing. “Phantom” owes its name to an ability to be “unseen” by dynamic mics (Shure® SM57/SM58, for in- stance) that don’t need external power and aren’t affected by it anyway.

Unless you know for cer-

tain it is safe to do so,

never plug single-ended

(unbalanced) micro- phones, instruments or

electronic devices into the MIC input jacks if the phantom power is on.

120 VAC 50/60 Hz 20W	POWER PHANTOM	MAIN OUT	MAIN INSERT	TAPE	TAPE	C-R OUTS	SUB OUTS	AUX RETURN	AUX SEND	DIRECT OUT
315mA/250V SLO-BLO		BAL/UNBAL		INPUT	OUTPUT	BAL/UNBAL	BAL/UNBAL	BAL/UNBAL	BAL/UNBAL	BAL/UNBAL

CAUTION:

TO REDUCE THE RISK OF FIRE REPLACE WITH SAME TYPE FUSE AND RATING

MONO

L	L	3	1	4	3	2	1	5	3	1	7	5	3	1
L	L			L	L	L
				L	L	L
				(MONO)	(MONO)	(MONO)
R	R	4	2	R	R	R		6	4	2	8	6	4	2
R	R			R	R	R
R	R

INSERT

LINE

LINE 15

LINE 14

LINE 13

LINE

LINE 11

LINE 10

LINE 9

LINE

LINE 7

LINE 6

LINE 5

LINE 4

LINE 3

LINE 2

LINE 1

BAL

UN-

BAL

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC 9

MIC 8

MIC 7

MIC 6

MIC 5

MIC 4

MIC 3

MIC 2

MIC 1

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