Main Insert, Main Outs, Mono Output, Fuse

MAIN INSERT

These 1/4" jacks are for connecting serial effects such as compressors, equalizers, de- essers, or filters . The INSERT point is after the mix amps, but before the MAIN L-R MIX fader. Insert cables must be wired thusly:

	ring		SEND to processor
tip		(TRS plug)	“tip”
	sleeve
This plug connects to one of the			“ring”
mixer’s Channel Insert jacks.
			RETURN from processor

Tip = send (output to effects device) Ring = return (input from effects device) Sleeve = common ground (connect shield to

all three sleeves)

MAIN OUTS

These 1/4" jacks are usually patched to the inputs of your 2-track mixdown deck (unless you’ve chosen to use the TAPE OUTPUT RCA jacks), or to the house amplifier during live sound sessions. To learn how signals are routed to these outputs: . To use these out- puts to drive balanced inputs, connect 1/4" TRS (Tip-Ring-Sleeve) phone plugs like this:

RING SLEEVE	SLEEVE RING	TIP
TIP
Tip = + (hot)	RING
Tip = + (hot)	TIP
Ring = – (cold)	TIP
Ring = – (cold)	SLEEVE
Sleeve = ground	SLEEVE
Sleeve = ground
To use these outputs to drive unbalanced
inputs, connect 1/4" TS (Tip-Sleeve) phone
plugs like this:	SLEEVE	TIP
SLEEVE	SLEEVE	TIP
TIP
Tip = signal	TIP
Sleeve = ground	SLEEVE
	SLEEVE

MONO OUTPUT

It happens to everybody sooner or later: The forces that govern your world will demand a monaural output from your painstakingly- created stereo panorama. The last thing you want to do is start twirling all your carefully- placed PAN settings to one side. What to do? Stick a cord in this 1/4" jack, hand the other end to Mr. Mono, and you’re done. He’s got his mono mix and you’ve still got your stereo mix. The MONO output is nothing more than a mix of the left and right MAIN MIX.

MONO LEVEL

So, Mr. Mono comes running back, scream- ing about the mono mix being so loud that his camcorder is melting. Just reach for this knob and turn it down a bit. Just the thing for send-

ing mono signals to mic inputs like camcorders, telephone interface boxes, even answering machines. With the pot all the way up (fully clockwise), you’ll have 6dB of extra gain with unity gain halfway between the one and two o’clock positions.

POWER CONNECTION

Just in case you lose the cord provided with the CR1604-VLZ, its power jack accepts a stan- dard 3-prong IEC cord like those found on most professional recorders, musical instru- ments, and computers. At the other end of our cord is — get this — a plug! Not a black cube or, as we’re fond of calling them, a “wall wart.” We did this for some very good reasons:

The CR1604-VLZ has sophisticated power requirements that a wall wart cannot provide. Wall warts are inconvenient, fragile, radiate huge hum fields, hog extra jacks on your power strip and get in the way. If you lose a wall wart, you’re in trouble, but if you lose the CR1604-VLZ’s power cord, you can get a new one at any electronics, music, or computer store. You can even buy them at Radio Shack® (part # 278-1257).

Plug the CR1604-VLZ into any standard grounded (3-pin) AC outlet or into a power strip of proper voltage.

WARNING: Disconnecting the plug’s ground pin can be dangerous. Please don’t do it.

FUSE

The CR1604-VLZ is fused for your (and its own) protection. If you suspect a blown fuse, disconnect the power cord, pull the fuse drawer out (located just below the cord receptacle) and replace the fuse with a 1A SLO BLO, 5x20mm, available at electronics stores or your dealer (or a 500mA [0.5 amps] SLO BLO 5x20mm if your CR1604-VLZ is a 220V-240V unit).

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

CAUTION:		R	R
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING	OO	+6

INSERT	INSERT	INSERT		INSERT	INSERT	INSERT	INSERT
LINE 16	LINE 15	LINE	14	LINE 13	LINE 12	LINE 11	LINE 10
BAL	BAL	BAL	BAL	BAL	BAL		BAL
UN-	UN-	UN-	UN-	UN-	UN-		UN-
BAL	BAL	BAL	BAL	BAL	BAL		BAL
MIC 16	MIC 15	MIC 14		MIC 13	MIC 12	MIC 11	MIC 10