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 described 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.
E-Z INTERFACING
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 Procedure on page 3, every time you patch in a new sound source. So stop worrying and start mixing!
MIC AND LINE INPUT FLEXIBILITY
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.
1. MIC INPUTS
We use phantom-powered, balanced microphone inputs just like the big studio mega- consoles, for exactly the same reason: This kind of circuit is excellent 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 recommendations for a good DI box.
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 1642-VLZ3’s phantom power is globally controlled by the PHANTOM [22] switch on the rear panel.
Semipro condenser mics often have batteries to accomplish 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.
