–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

–10 •

 

 

–10

 

–10

 

–10

 

–10

 

–10

 

–10

SENSITIVITY

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

•

 

•

 

•

 

•

 

•

 

•

ADD 8dB FOR

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MIC INPUTS

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

+4

–40

 

U 16

 

U 15

 

U 14

 

U 13

 

U 12

 

U 11

 

U 10

 

U 9

 

U 8

 

U 7

 

U 6

 

U 5

 

U 4

 

U 3

 

U 2

 

U 1

 

22

PHANTOM

 

 

 

 

 

 

 

 

 

 

 

 

23

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

UNBALANCED LINE INPUTS

 

 

 

 

 

 

 

 

 

BALANCED/UNBALANCED LINE INPUTS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

LOW Z BALANCED MICROPHONE INPUTS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

6

 

5

 

 

4

 

3

 

 

2

 

1

 

INPUT

OUTPUT

POD

•DC Power is applied to Pins 2 and 3. Maximum current is 10mA per microphone.

•When turned off, the phantom power circuitry takes a moment for voltage to bleed to zero. Do not attempt to adjust your set.

•There is only one “freak” way to damage a ribbon mic with phantom power. If the connec- tor on the mic cable is worn, it may not make contact with both “hot” pins exactly at the same time when being plugged in. This could cause a momentary DC spike that could, in turn, damage or dislodge the ribbon. To avoid this remote possibility, always plug in ribbon mics before you turn the PHANTOM power switch on or off.

WARNING: If you’re connecting electret- type microphones, plug them into Channel 7–16.Avoid the temptation to use Channel 1–6 XLR sockets via 1/4"-to-XLR adaptors and then turn on the PHANTOM switch. If you do, the microphone will be toast. Also, don’t connect electronically balanced components such as CD players or the output of a tape deck to the XLR inputs. Use Channel 1–6 balanced 1/4" inputs instead.

22BALANCED LINE INPUTS (Channels1–6)

These six line inputs share circuitry (but not phantom power) with the six mic preamps, and can be driven by balanced and unbalanced de- vices. In other words, you can use these inputs for virtually any signal you’ll come across, from instrument levels to –10dBV to +4dBu, since there is 40dB of gain available.

•To connect these inputs to balanced sources, use a Tip-Ring-Sleeve (3-conductor) plug:

Tip

= Positive (+ or hot)

Ring

= Negative ( – or cold)

Sleeve = Shield (ground)

•To connect unbalanced sources to the balanced inputs, use a mono phone plug or standard instrument cable. The jack on the CR-1604 input will sense the plug and disable the balancing circuits.

•Line inputs 1–6 are a good place to connect instruments which have low output such as older keyboards. Or keyboards in general for that matter, since you can adjust the corresponding channel INPUT SENSITIVITY controls so the mixer has plenty of gain, but you can still keep the keyboard volume set around the halfway mark.

23UNBALANCED INPUTS (Channels 7–16)

These inputs are designed for mono unbalanced signals from instrument level to –10dBV or +4dBu. They can be used with just about any pro or semipro instrument, effect or tape recorder.

24MAINS

If you leave this switch in the OFF position, you won’t hear anything. You can leave the CR-1604’s MAINS power switch ON all the time since the mixer is conservatively designed so that heat buildup isn’t a problem, even in 24-hour-a-day op- eration. Or just plug everything into a good quality, grounded power strip for 1-button turn-on.

If you leave it on all the time, don’t worry about the top of the pod being warm to the touch. We use the pod chassis as a heatsink for the voltage regulators which in turn dissipates a very mild amount of heat constantly throughout the chassis. All is well.

25AC RECEPTACLE

Look mom, no wall wart! Plug the AC power cord in here, and enjoy the convenience of the CR-1604’s built-in power supply. The other end goes to your power source. If some nasty

25

26

MAINS

PHANTOM

ON OFF

24

+48V

 

 

 

 

 

 

 

 

 

A

WHY NO WALL WART?

 

CLOSER

Building a power supply into

 

the CR-1604 wasn’t any picnic.

LOOK

But we think that you’ll appre-

ciate it for several reasons:

 

• The CR-1604 has separate

regulated power supplies for the audio, meter, 12VAC lamp and microphone phantom circuits. That’s part of why it sounds so good. No wall wart can provide this kind of sophisticated power.

• Wall warts and “line lumps” are inconvenient, generate huge hum fields, hog extra jacks on your power strip and get in the way when you move.

• The thin cable coming out of a wall wart or

in-line power supply breaks easily, especially on the road. Then you need a whole new one, possibly of some esoteric breed that’s only available from the manufacturer on alternate Thursdays via an unlisted phone number. If the rugged cord on the CR-1604 wears out, you can score one anywhere fast. Except maybe in the far reaches of the galaxy.

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