Part 4 — CONNECTIONTIPS

It’s now time to begin hooking up all the cool stuff you want to mix together. At this point, you rack mounters may want to rotate the CR-1604’s input/output pod to its jacks-to-back position. Pod rotation instructions start on page 20. If you want everything in yo’ face, i.e. jacks on the same plane as the controls, get our RotoPod bracket (see details on page 20).

Instead of being included in this manual we have provided an incredibly detailed Applications Guide with much more detailed (and colorful) drawings than could be managed in a

2-color, letter-size manual. NOTE: If you somehow lost the Applications Guide in the frenzied heat of unpacking your CR-1604, your Mackie dealer should have some extras stashed someplace. Or call 1-800-898-3211 and we’ll send you a replacement, pronto.

EFFECTS AND PROCESSORS

Most recording and PA setups use external signal processors to enhance the sound: reverb, delay, digital delay, equalizers and compressors are the most common, but perhaps you have a harmonizer or enhancer as well. All of these devices can be grouped into two categories — effects and processors, depending on what they do and how they’re used.

EFFECTS (parallel processing)

These generate additional sounds that you add to the mix, usually by making two simultaneous mixes: one is of the unmodified dry signal that goes directly to the main outputs via the input channels; the other is an auxiliary mix that is sent to the effects device. The output of the effect is then mixed with the main output, usually through an AUX return. The most common effects are reverb and digital delay.

through a Channel Access or Stereo Bus insert or before/after the mixer. Processors include compressors, limiters, filters or external equalizers.

ODD DUCKS

Some newer, digital “Swiss Army Audio Knives” can be switched for compression, limiting and whatever else struck the whim of the product de- signer. Check their manuals for details. You’ll probably want to connect them based on how you’re using them in your mix.

CONNECTING AN EFFECT WITH STEREO OUTPUTS

Use two separate cables and plug into a LEFT/ RIGHT pair of an AUX return. The corresponding stereo AUX RETURN Level knob will control both sides of the effect equally.

CONNECTING A MONO OUTPUT EFFECT

If you want a signal to return to just the right side, plug the effect output into just the RIGHT AUX RETURN.

SEPARATE MONO EFFECTS IN L & R

If you plug different mono effects into an AUX RETURN’s left and right jacks and press the corresponding MONO button, you get up to eight mono returns.

CHANNEL INSERTS

To connect a processor using the CR-1604’s CHANNEL ACCESS jacks, use tip-ring-sleeve plugs wired as shown. The “tip” plug goes to the processor INPUT; the “ring” plug goes to the processor’s OUTPUT. If you’re using these jacks as channel inserts, adjust the TRIM controls after you plug the processor in.

HOOK

UP

PROCESSORS (serial processing*)

CHANNEL INSERTS AS DIRECT CHANNEL OUTS

These devices modify the signal and com-

You can also use the CHANNEL ACCESS jacks

pletely replace it with the processed version.

as direct outputs from the channels (post-fader/

Usually they are connected to only one micro-

post EQ) to feed tape decks, DAT machines or

phone, instrument, or track at a time —

other mixers. (See drawing on following page.)

* — as compared to CEREAL processing, wherein wheat, rice, oats, etc. are turned into strange, alien- colored breakfasts foods named after kiddie shows.

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