Mackie Musical Instrument Compact Mixer User Manual

MIXER ANATOMY: CHAPTER 2  
Inputs, Outputs, and Related Controls  
the mixer. So, while theres a wide adjustment range  
for both mic and line inputs, the mic inputs have  
higher gain.  
Mackie E-Z Interfacing  
Concerned about levels, balancing, impedance,  
polarity, or other interface goblins? Dont be. On  
your Mackie mixer, you can connect almost anything  
almost anywhere, with nary a care. Heres why:  
Dont forget the Level-Setting Proce-  
dure at the beginning of this book. Mic  
and line inputs are happiest when run-  
ning at the optimum levels. That procedure will get  
you there.  
Every main input and output is balanced.  
Every 1/4" input and output jack also accepts  
unbalanced connections.  
Check the Tips section and Glossary for more infor-  
mation about terms well be using here like operating  
level, impedance, balanced, unbalanced, XLR, and  
TRS. Also study the mixer block diagrams, as each  
one is worth a thousand words or more.  
Every input is designed to accept virtually any  
output impedance.  
The main left and right mix outputs can de-  
liver +28 dBu into a 600 ohm load (thats hot!)  
Mic Inputs  
All the other outputs can deliver +22 dBu into  
a 600 ohm load (thats plenty).  
Mackie mixers include phantom-powered, bal-  
anced XLR microphone inputs just like the big studio  
mega-consoles, and for exactly the same reason:  
A fully balanced circuit is excellent at rejecting  
hum and noise, and phantom powering means that  
condenser mics can be used without external power  
supplies or batteries.  
All the outputs are in phase with the inputs.  
All Mackie mixers have both microphone and line-  
level inputs. Some channels have both, some chan-  
nels have only line-level inputs. Consult your mixers  
quick start guide (or just look at the connector  
panel) for the exact arrangement. Below is the rear  
panel of the 1604-VLZ PRO.  
You can plug in almost any kind of mic that has a  
standard male XLR-type connector without fear of  
overloading the preamp. Professional ribbon, dy-  
namic, and condenser mics all sound great through  
these inputs.  
Mic? Line? – What’s The Difference?  
Microphones produce a relatively low  
voltage, generally in the range of 1 to 250  
millivolts, depending on the sensitivity of  
XLR Input Connectors – Mic wiring  
the mic, and how loud the sound is. Voltages in the  
0.15 to 3 volt range are considered to be line-level.  
These arent rules or standards, just ways of talking  
about two widely different operating voltage ranges,  
both of which are common in audio.  
Nearly all professional mics are designed to con-  
nect to a low impedance input, and employ balanced  
wiring terminating in an XLR-style plug. Youll find an  
illustration and wiring diagram in the Tips section,  
chapter 9. We use the wiring convention:  
A microphone typically requires 20 to 60 dB of gain  
in order to bring its signal up to the mixers operat-  
ing level. A line-level signal requires little if any gain,  
and may need to be brought down in level to match  
Pin 1 = shield  
Pin 2 = positive (+ or hot)  
Pin 3 = negative (- or cold)  
MAIN INSERT  
(TIP SEND  
120 VAC 50/60 Hz 20W  
1A/250V SLO-BLO  
C-R OUT  
BAL/UNBAL  
SUB OUT  
AUX SEND  
BAL/UNBAL  
DIRECT OUT  
BAL/UNBAL  
POWER  
ON  
PHANTOM  
ON  
MAIN OUT  
BAL/UNBAL  
TAPE  
TAPE  
AUX RETURN  
BAL/UNBAL  
BAL/UNBAL  
INPUT  
OUTPUT  
RING RETURN)  
L
L
3
1
2
4
3
2
1
5
6
3
1
2
7
8
5
3
4
1
2
L
L
L
L
L
L
(MONO)  
(MONO)  
(MONO)  
MONO  
R
R
R
4
4
6
R
R
R
R
R
CAUTION:  
TO REDUCE THE RISK OF  
FIRE REPLACE WITH SAME  
TYPE FUSE AND RATING  
O O  
+6  
UTILISEUNFUSIBLEDERECHANGEDEMÊMETYPE.DEBRANCHERAVANTDEREMPLACERLEFUSIBLE  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
INSERT  
LINE  
INSERT  
LINE  
INSERT  
INSERT  
LINE  
INSERT  
INSERT  
INSERT  
LINE  
INSERT  
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LINE  
INSERT  
INSERT  
LINE  
LINE  
16  
LINE  
15  
LINE  
14  
LINE  
13  
LINE  
12  
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10  
LINE  
9
8
LINE  
7
LINE  
6
5
LINE  
4
3
LINE  
2
1
BAL  
UN-  
BAL  
BAL  
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BAL  
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BAL  
BAL  
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BAL  
BAL  
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BAL  
BAL  
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BAL  
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BAL  
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BAL  
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BAL  
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BAL  
BAL  
UN-  
BAL  
BAL  
UN-  
BAL  
BAL  
UN-  
BAL  
BAL  
UN-  
BAL  
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  
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
M
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.  
FABRIQUE AU USA COPYRIGHT ©1998 THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS OF MACKIE DESIGN INC.: "MACKIE", "VLZ", "XDR", AND THE "RUNNING MAN" FIGURE  
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC  
WOODINVILLE  
WA  
USA  
MADE IN USA  
US PATENT NUMBER 29/049,129  
17  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
Always be sure to perform the Level-Setting Pro-  
cedure when connecting to LINE inputs that have  
TRIM controls, and check the level and adjust it  
externally on the stereo inputs without TRIMs.  
sound, but the guitar will lose punch and treble. The  
proper way to connect an instrument pickup directly  
to a Mackie mixer is to use a Direct Box (or DI =Di-  
rect Injection) between the guitar and a MIC input.  
To connect balanced sources to the line-level  
inputs, use a 1/4" tip-ring-sleeve (TRS) plug, the type  
found on some stereo headphones:  
Hi-Z Guitar Inputs  
After all that, we decided that it  
1
would be a good idea to build a direct in-  
strument input into some of our mixers.  
On channels 1 and 2 of the Onyx series  
mixers and 800R preamp, the MIC/HI-Z  
switch switches the channel input from  
the XLR mic connector to the 1/4" input  
jack. This jack provides a high imped-  
ance input suitable for directly connect-  
ing an instrument pickup, saving you  
the cost and fuss of using a DI. Were not  
stuffy – you can plug your bass in here,  
too.  
RING SLEEVE  
SLEEVE RING TIP  
TIP  
RING  
TIP  
-
HI Z  
1
MIC  
-
HI Z  
SLEEVE  
48V  
To connect unbalanced line-level sources, use  
a cable with 1/4" mono (TS) plugs. In music store  
lingo, thats an instrument cable” or quarter inch  
patch cord.” When a TS plug is inserted into a TRS  
jack, the Ring (low signal) and Sleeve (ground) get  
connected together.  
30  
U
20  
U
40  
60  
-20dB +40dB  
GAIN  
The Hi-Z jack also serves as a line input jack (it  
has the same gain as the line inputs on the other  
channels). When using line inputs with channels 1  
and 2, dont forget to push the Guitar” button.  
See the Mixer Tips section for more information on  
balanced and unbalanced connections.  
The TRIM Control  
Tape Returns (8-Bus Only)  
The TAPE RETURN jacks on the rear panel of the  
8-Bus console are for connecting the outputs of a  
multitrack recorder.  
The TRIM control adjusts the  
input sensitivity of the MIC or LINE  
IN jack, to match the input signal  
to the operating range of the mixer.  
On all Mackie mixing consoles with  
the exception of the PPM series,  
TRIM  
1
d
U
0
60  
+15dB -45dB  
15  
13  
11  
9
the TRIM control is located at the top of the channel  
strip. That makes it easy to find, since TRIM is the  
fi rst control the signal encounters on its way through  
the console. The PPM series has an Input Level Set  
control and LED indicator above each channels  
VOLUME control.  
OPERATING  
LEVEL CH. 9-16  
IN –10dBV  
OUT +4dBu  
16  
14  
12  
10  
+4 / –10 BALANCED / UNBALANCED  
TAPE RETURNS 9-16  
These are balanced 1/4" TRS jacks which will  
also accommodate unbalanced connections. Theyre  
grouped in sets of eight, with each group having an  
OPERATING LEVEL switch to properly match the  
gain of these inputs to pro (+4 dBu) or semi-pro  
(-10 dBV) recorders.  
Whenever you connect a new input, or the input  
source changes (you move the mic from the dulcimer  
to the kick drum), you should perform the Level-Set-  
ting Procedure. That procedure is how to use the  
TRIM control.”  
TAPE RETURN jacks can be routed to either the  
channel (for mixing) or Mix-B (during tracking).  
Their fate is determined by the FLIP and MIX-B  
SOURCE switches.  
Connecting Electronic Instruments  
Synthesizers, guitar processors, other  
electronic instruments, and computer  
sound cards work ne when connected  
Tape Inputs  
to the LINE inputs. The pickups on electric guitars  
and basses, even though the plug fits, are a different  
animal, however. Pickups require a higher input im-  
pedance than the Mackie LINE IN provides. Plugging  
a guitar into a LINE IN jack will probably make some  
These unbalanced RCA TAPE INPUT jacks are  
designed to work with semi-pro as well as pro record-  
ers. The provide an unbalanced input at 0 dBu. Con-  
nect your 2-track tape recorders outputs here, using  
standard RCA cables.  
19  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
In recording applications, the TAPE INPUT jacks  
provide a convenient way to play back your mixes  
through the Control Room monitors. Youll be able  
to listen to a mix, then rewind and try another pass  
without repatching or disturbing the mixer levels. In  
sound reinforcement applications, you can use these  
jacks to feed intermission music from a tape or CD  
player without tying up a mixer channel.  
bus outputs to slate the tape. (Purple Tears, take  
seventeen.)  
The Onyx series mixers let you have it both ways.  
Theres a built-in talkback mic as well as a connector  
for an external talkback mic. It has 48 V phantom  
power (always applied), so you can use a condenser  
mic if you wish. Remember, though, that its not a  
good idea to hot plug” a mic to a connector that has  
phantom power. Turn your mixer off before plugging  
or unplugging your talkback mic whether its a con-  
denser or a dynamic. It could save your mic!  
If your mixdown recorder has balanced XLR out-  
puts at the pro” operating level of +4 dBu, then in  
order to use the TAPE INPUTs, you will have to adapt  
the connector type, as well as attenuating the signal  
level by approximately 10 dB to avoid overloading.  
If the recorder has an output level control, just turn  
it down. Otherwise, youll need to purchase or build  
an in-line attenuator. Alternately, you can connect  
the recorder outputs through an XLR-TRS cable to a  
channel line input.  
Dont feel left out if your console isnt equipped  
with dedicated talkback circuitry. You can accom-  
plish the same thing by plugging a mic into a spare  
input channel and routing it to wherever you want to  
be heard.  
Main Outputs  
Control and routing of the TAPE inputs varies  
among models. Check the Control Room Source con-  
trols in the Master section for particulars.  
When we speak of the main outputs, were talking  
about outputs from the left and right (stereo) bus-  
ses. These outputs are controlled by the MAIN MIX  
fader. This is where the fully mixed audio enters the  
real world.  
Auxiliary Return Inputs  
Auxiliary Returns are line-level inputs designed  
for connecting the outputs of effects devices. They  
can also be used to connect extra line-level audio  
sources. Theyre balanced 1/4" TRS jacks, and will  
accept signals from just about any pro or semi-pro  
effects device on the market.  
The MAIN OUTPUTS on XLR connectors are dif-  
ferential, providing an extra 6 dB of output level, up  
to +28 dBu.  
The Main outputs are duplicated on impedance  
balanced 1/4" TRS jacks. These provide up to +22  
dBu output level, and work equally well when con-  
nected to either balanced or unbalanced inputs.  
When connected to a balanced input using a TRS  
plug, they appear to the input as a balanced output  
with nearly all the benefits of a differential, balanced  
source. When connected to an unbalanced input,  
they appear as an unbalanced source, at the same  
output level as the balanced TRS outputs.  
Typically, Auxiliary Returns from effects are routed  
to the main L/R busses, but on certain models, they  
can also be easily routed to AUX sends or subgroup  
busses for more flexibility.  
Talkback Microphone Input  
Some Mackie consoles are equipped with a con-  
nector for a dedicated talkback microphone. A mic  
plugged into this XLR jack can be routed to the main  
mix, allowing you to speak to the audience (And  
now, lets give a warm welcome to The SLOUGH-  
TONES - YEAH!!”) or via AUX Sends 1-2 to stage  
monitors or headphones (Hey Flash! Your D string is  
fl at!).  
The PPM series mixers, since theyre intended  
primarily for use with their own internal amplifiers,  
have only 1/4" unbalanced jacks for the main mix  
outputs.  
The talkback mic has its own volume control and  
routing switches located in the Master area of the  
console.  
The 8-Bus console has the talkback mic built  
into the console. Just push the button and talk. In  
addition to communication with the players, the  
Talkback mic on the 8-Bus console can be sent to the  
20  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
Dont confuse this subwoofer output with its simi-  
larly named neighbors, the SUB (subgroup) outputs.  
Main Output Level Switch  
Several compact mixer models  
are equipped with a switch that  
attenuates the XLR main outputs  
by 30 dB, bringing them down  
to approximately the level of a  
microphone. If youre submixing  
a group of instruments on stage  
(say a bunch of keyboards), by  
switching the output to MIC level,  
you can send this submix back to  
the main mixer just as if it were  
MAIN OUTS  
L
Tape Outputs  
These unbalanced RCA jacks tap the MAIN MIX  
outputs to make simultaneous recording and sound  
reinforcement more convenient. Theyre also handy  
for interfacing consumer recorders or semi-pro com-  
puter sound cards.  
+4  
MIC  
R
MAIN  
OUTPUT  
LEVEL  
Direct Outputs  
The 1/4" jacks on the 1604-VLZ PRO, 1642-VLZ  
PRO, and 8-Bus, deliver the signal from nearly the  
tail end of the channel path: post-TRIM, post-EQ,  
post-LOW CUT, post-fader, and post-MUTE.  
another microphone. Its also handy for connecting to  
the one mic input they give you in the hotel meeting  
room.  
Mono Output  
The Onyx mixers also have direct outputs, but  
theyre a bit different, both in form and function,  
and theyre labeled RECORDING OUTS. Rather than  
using separate 1/4" jacks, these mixers use 25-pin D  
Subminiature (D-Sub) connectors, providing eight  
fully balanced direct outputs on each connector.  
The direct outputs on the Onyx series are more truly  
direct,” coming straight from the mic preamp stage  
(which also incorporates the instrument and line in-  
puts). These outputs are unaffected by the equalizer  
or fader settings and are designed for the cleanest  
recording of the direct microphone signal.  
Several Mackie mixers have a dedicated Mono  
output for those requirements that seem to pop up  
now and then, demanding a monaural mix of a pains-  
takingly-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 cable in  
the MONO output, hand the other end to Mr. Mono,  
and youre done. Hes got his mono mix and youve  
still got your stereo mix. The MONO output is nothing  
more than an equal mix of the left and right MAIN  
MIX outputs.  
Optional for the Onyx is a FireWire® (IEEE-1394)  
card, which provides direct outputs in digital format.  
This is great for recording your live gigs with a laptop  
computer.  
Mono Level Control  
So, Mr. Mono comes running back, screaming about  
the level being so loud that his camcorder is melting.  
Just reach for this knob and turn it down a bit. Just  
the thing for sending mono signals to mic inputs like  
camcorders, telephone interface boxes, even answer-  
ing machines.  
Not all compact mixer models have direct outputs.  
Some have direct outputs on only the lower-num-  
bered channels, and only the 8-Bus and Onyx have a  
DIRECT output on every channel.  
Subwoofer (75 Hz) Output  
Direct outputs are useful for sending the channel  
straight to a track of a multitrack recorder. A direct  
output can also be used to send a single channels  
signal to an effects processor without using up an  
Auxiliary send.  
MAIN OUT  
The CFX series of mixers is  
equipped with a unique feature – a  
mono output followed by a 3rd order  
75 Hz low-pass filter. It sums the left  
and right main outputs and removes  
L
everything but the deepest bass.  
Connect this output to a high-  
R
powered subwoofer, and the music  
police will be right over. The level of  
the subwoofer output is fixed relative  
S
75Hz  
SUB OUT  
to the main outputs, so be sure that  
your subwoofer amplifier (or powered  
sub) has an adjustable input level for balancing the  
bass level.  
21  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
PAN  
pan fully right.  
Bus/Subgroup Outputs  
The 8-Bus console extends this trick by tripling the  
outputs of each of the eight busses to accommodate a  
24-track recorder.  
In 4- and 8-Bus consoles, the output  
of the PAN control can be assigned to  
subgroup busses. The ASSIGN switches  
(1-2, 3-4, L-R) direct the channel out-  
put to pairs of busses. The subgroup bus  
outputs appear on the balanced 1/4"  
TRS SUB OUT jacks.  
L
R
1
MUTE  
OL  
On most Mackie mixers, subgroup busses can be  
routed to the main outputs so that all channels as-  
signed to that subgroup can be controlled by a single  
fader, retaining the balance and pan position set by  
the channel controls. You can individually mic each  
of the background singers, assign their channels  
to a single subgroup or pair, and use the subgroup  
fader(s) to bring the background vocals up in the  
mix when theyre needed.  
-
20  
SOLO  
The subgroup outputs can be used  
to feed a mix of several channels (for  
example six mics on a drum kit) to a  
single pair of recorder tracks.  
1 2  
3
4
L - R  
O O  
Bus Output Levels  
Not all models have the same SUB outputs, level  
controls, and routing capabilities. Input channels on  
the CFX series cannot be routed directly to the MAIN  
outputs, but must first be routed to a pair of sub-  
group busses, which are in turn assigned to the MAIN  
outputs by switches in the mixers Subgroup section.  
The PPM series has no SUB outputs since it has no  
subgroups.  
The subgroup bus output level on all  
of the Mackie mixers is nominally 0 dBu. The output  
level of the busses is controlled by the bus faders.  
On the 8-Bus console, the bus output level is  
switch-selectable between +4 dBu and –10 dBV, al-  
lowing you to properly match pro or semi-pro record-  
ers.  
ALT 3-4 Outputs  
The dual-purpose MUTE/ALT 3-4 switch on the  
1202/1402-VLZ PRO and Onyx 1220/1620 mixers is  
a variation on the subgroup concept. When Greg  
Mackie was designing our first compact mixer, he  
wanted to include a mute switch for each channel.  
Mute switches do just what they say — turn off the  
signal by sending it into oblivion. Gee, what a waste,”  
Greg reasoned. Why not have the mute button route  
the signal somewhere else useful - like an alternate  
stereo bus?”  
6
5
4
3
IN –10dBV  
OUT +4dBu  
13OPERATING  
LEVEL  
14  
22  
12  
11  
19  
21  
20  
+4dBu BALANCED / –10dBV UNBALANCED  
SUBMASTER / TAPE OUTPUTS  
Double (and triple) Bussing  
The bus outputs on the 1642-VLZ PRO,  
SR, and 8-Bus mixers have duplicate  
jacks to make connection to a multitrack  
So MUTE/ALT 3-4 really serves two purposes: mut-  
ing (handy during a mixdown session or live show)  
and signal routing. For multitrack recording and live  
mixing, it serves as an extra stereo bus.  
recorder easier. Even though the SR and 1642 are  
four-bus mixers with four subgroups, they have eight  
SUB OUT jacks for feeding eight recorder tracks,  
thanks to a trick called Double Bussing.  
One difference between the ALT 3-4 outputs and  
BUS OUTs 3 and 4 on the larger consoles is that  
theres no output level control for those busses  
– they run at unity gain. Another difference is that  
its either/or routing – a channel cant be assigned to  
both the MAIN and ALT outputs simultaneously. But  
like the true 4-bus consoles, the ALT busses can be  
routed to the MAIN outputs, serving as a submaster  
pair.  
SUB OUTS 1 and 5 carry the same signal, as do 2  
and 6, 3 and 7, and 4 and 8. By connecting those eight  
jacks to the eight inputs of your recorder, you can  
route any input channel to any track.  
To record onto Track 1, assign the input channel to  
Bus 1 by pressing the 1-2 ASSIGN button and turning  
the PAN control fully left. On the recorder, put Track  
1 into the Record mode, being sure that Track 5 is in  
the Safe or Play mode. To record on Track 5, use the  
same bus assignment on the mixer, but put Track 5 in  
Record. To record on Track 2 or 6, ASSIGN to 1-2 and  
To MUTE channels in the main mix, leave the ALT  
3-4 outputs disconnected. Pressing the MUTE/ALT  
3-4 button switches the channel signal from the  
MAIN to the ALT 3-4 busses, sending it off to never-  
never land, disconnecting it from the MAIN MIX, and  
22  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
effectively muting its input.  
Stage monitors are almost always fed from a pre-  
fader send, so that the engineer can create a mix  
for the musicians on stage and leave it alone once  
theyre happy. (Turn the drummer up really loud in  
his monitor and hell think hes really loud in the  
house.) Then you can mix the house according to  
your good taste.  
To use ALT 3-4 as output busses, just connect the  
ALT 3-4 outputs to whatever destination you desire.  
Pressing the MUTE button will remove the channel  
signal from the MAIN bus and route it to the ALT 3-4  
outputs.  
The ALT 3-4 outputs are a good way to feed a mul-  
titrack recorder when you only need to record one or  
two tracks at a time, or a good way to feed a stereo  
sound card in a computer.  
In larger sound reinforcement systems, pre-EQ  
sends for the monitors are nearly always preferred  
since theres usually an outboard equalizer between  
the console and the monitor amplifier. If the moni-  
tors are fed after the channel equalizer, an EQ boost  
to bring out an instrument in the house might cause  
a blast of feedback on stage. Also, musicians dont  
like to hear you messing with their tone.”  
AUX Send Outputs  
The Auxiliary Send section is like a bunch of mono  
mixers, one for each Auxiliary output. The AUX  
controls send a copy of the channel signal to the AUX  
bus where the signals are mixed and sent to the AUX  
output. On some of our mixers, these controls are  
labeled MONITOR and EFX (effects) since those are  
common uses.  
Studio headphone cue feeds are similar to stage  
monitors only theres no risk of feedback, so fidelity  
can come first. If an instrument sounds better in the  
control room with EQ, it will probably sound better  
to the musician too, so post-EQ monitor sends are  
usually preferred. A pre-fader send is a good idea,  
though, since a musician playing an overdub may  
want to hear a mix that helps him focus on his part,  
while the producer will want to hear a well balanced  
mix in the control room.  
Pre and Post Sends  
Auxiliary Sends are designated as PRE or POST.  
Pre or post what? POST always means post-fader,  
PRE is always pre-fader. The output level of a PRE  
send is independent of the position of the channel  
fader, while the level of a POST send follows the  
channel fader. Both come after the LOW CUT filter  
(if any) but on some models, the PRE send is taken  
before the equalizer section while on others it comes  
after the EQ. It may come either before or after the  
MUTE switch. Heres a summary for all of the Mackie  
mixers of where the Pre-fader AUX sends are taken:  
Effects sends are almost always post-fader and  
post-EQ. Generally you want to send a signal to the  
effects processor in proportion to its level in the mix.  
When you turn something down in a mix, you want  
the effect level to drop along with it. Sometimes,  
though, you may want the drysignal to fade out,  
leaving only the effect-ed version. Use a Pre-fader  
send to achieve this.  
Source for PRE Sends  
Having the pre-fader sends fed after the MUTE  
switch is very handy for live sound applications.  
When you mute a channel, its muted everywhere.  
Model  
EQ  
Mute  
Pre  
1202/1402-VLZ PRO Post  
PRE/POST Switches  
1604-VLZ PRO  
1642-VLZ PRO  
Onyx  
Pre  
Pre  
Pre  
Pre  
Some AUX sends are hardwired one way or the  
other, and are labeled as such on the panel. Some  
models have switches that allow you to change the  
feed point of the Send from the front panel.  
Post  
Post  
Pre  
Pre  
CFX  
Post  
Post  
Post  
DFX  
MUTE  
PAN  
ASSIGN  
LOW  
CUT  
SR  
Post  
INPUT  
TRIM  
INSERT  
EQ  
FADER  
8-Bus  
Switched Post  
Pre NA  
AUX 1  
'PRE' SIGNAL  
'POST' SIGNAL  
PPM  
PRE SWITCH  
AUX 2  
Thats quite an assortment. The variations reflect  
both the most likely application, and what was in  
favor at the time the mixer was designed. Here are  
some common preferences:  
23  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
AUX Send Shift  
easy reach of the mixer. By plugging a normally open,  
latching (push-on-push-off) foot switch into the  
EFX FOOT SWITCH jack, you can mute the effect  
return without leaving your performing position. If  
the mixer is in sight, the lighted EFX BYPASS LED  
will remind you of why youre no longer in the Grand  
Canyon.  
Some Mackie consoles have six AUX SEND busses  
but only four AUX knobs. The SHIFT button selects  
whether their associated knobs send the channel  
signal to AUX outputs 3 and 4 or outputs 5 and 6 on a  
channel-by-channel basis.  
If youre using an outboard effects pro-  
cessor on the PPM instead of the EMAC,  
Using AUXes with Effects  
Heres the signal flow from the AUX send, through  
the AUX output, to a reverb unit, and back to the mix  
through the AUX Return jack.  
that will also be bypassed when either the  
front panel or foot switch is activated. On the CFX  
and DFX, however, the bypass switch comes ahead of  
the EFX RETURN 2 jacks, so an external processor  
coming in to the mix at that point will not be affected  
by the bypass foot switch.  
FADER  
AUX  
AUX  
BUS  
AUX  
AUX  
Plugging in a foot switch disables the  
front panel EFX BYPASS switch.  
SEND  
RETURN  
MAIN  
BUS  
REVERB  
Control Room Output  
OUT  
IN  
When recording, its convenient to have an output  
with its own volume control thats dedicated to con-  
trol room listening. Control Room outputs are on 1/4"  
balanced TRS jacks (unbalanced on the 8-Bus) and  
are fed from the Control Room Level control. This al-  
lows you to crank the playback level so the drummer  
can hear it, or turn it down to answer the telephone,  
all without disturbing the MASTER level, which  
youve set to send the proper level to the mixdown  
recorder.  
This is sometimes called a parallel” effect con-  
nection, since the path of the processed signal is in  
parallel with the dry signal path.  
Built-in Effects  
The CFX, DFX. and PPM series mixers have a built  
in digital effects processor (EMAC). The input of the  
EMAC is normally connected to the EFX bus (EFX  
2 in the CFX), and the output is normally returned  
to the MAIN bus. The EFX send and return jacks on  
these mixers have normalling switch contacts – in-  
serting a plug disconnects the normal send/return  
loop through the EMAC so that you can use them  
with an outboard processor.  
The source for the Control Room output is selected  
by switches in the Master section of the console. The  
Main left/right outputs are always available to the  
control room monitor. Other choices, depending on  
the mixer, are the subgroups, ALT 3-4 bus, playback  
from a stereo recorder, Mix B, or another external  
source such as a CD player.  
With some clever cable juggling you can even  
use the EMAC processor as an outboard effect for  
another mixer.  
Headphone Output  
EFX Foot Switch and Bypass  
The Headphone output is another copy of the  
Control Room output (the 8-Bus offers several other  
choices) followed by an amplifier capable of driving a  
set of headphones to a comfortable, no, a pretty darn  
loud level.  
Weve included some features on the effects-  
equipped mixers that will be welcomed by the  
musician or band working without a sound engineer.  
The Grand Canyon reverb might have sounded great  
on that ballad you just finished, but it really sounds  
dumb on your speaking voice, when youre introduc-  
ing the next song. Its handy to be able to quickly kill  
the effects processor and then turn it back on when  
its time for the next song.  
WARNING: When we say the headphone  
amp is loud, were not kidding. It can  
cause permanent hearing damage (and  
headphone damage, too). Even intermediate levels  
may be painfully loud with some earphones. BE  
CAREFUL!  
The EFX BYPASS switch on the front panel mutes  
the signal to the effects processor when youre in  
24  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
On some models, the headphones and control room  
share the same level control; on others, theres a  
separate control for headphone level.  
You can also insert a signal processor such as a  
delay, flanger, or reverb unit in the channel path to  
process the source coming into that channel. This is  
sometimes called a serial” effect hookup since its in  
series with the signal path.  
Some models have two headphone jacks. The two  
jacks on the 1642-VLZ PRO are fed from the same  
point, and both follow the same Phones level control.  
The 8-Bus console has two completely independent  
headphone outputs, each having its own level control  
and source selector for two separate mixes to its  
headphone jacks.  
Since most people who need only a small mixer,  
dont have racks full of processing gadgets, our small-  
est mixers dont have Inserts on every channel. The  
larger ones do.  
The INSERT jack is a 1/4" TRS type, but in this  
instance, the two jack contacts are used as an output  
(send) from the preamp and an input (return) back  
into the remainder of the channel strip. Switch  
contacts built into the jack provide a normal” con-  
nection from send to return when theres no plug  
inserted. When you push a plug all the way in, this  
connection is broken, and you have access to the  
channel insert points through the jack.  
Studio Output (8-Bus)  
The Studio Output normally feeds an amplifier and  
speakers (or powered speakers) in the studio, so that  
the musicians can hear a playback without coming  
into the control room. These carry the same signal as  
the Control Room outputs, but have an independent  
level control so you can adjust the playback volume  
to suit the listeners.  
The tip of the plug connects to the SEND, and the  
ring connects to the RETURN. Since were using only  
one contact of the jack for each connection, con-  
nections to and from the INSERT are unbalanced.  
The send is a low impedance line-level output that  
will drive any pro or semi-pro processing device. The  
RETURN is a moderate impedance line-level input  
that can be driven by almost any device.  
The 8-Bus TALKBACK microphone can be routed  
to the Studio output, so that you can talk to the play-  
ers through the studio monitor speakers.  
WARNING: When you have mics live in  
the studio, theyll also be live in the studio  
monitors if the Studio output control is  
turned up. In the extreme case, youll get feedback,  
but you dont want to record the speaker outputs ei-  
ther. When tracking, be sure to turn the Studio Level  
control down between playbacks.  
You can buy an Insert cable off the rack at your lo-  
cal music store, or build one. Heres how its wired:  
SEND to processor  
ring  
tip”  
(TRS plug)  
tip  
sleeve  
The Studio Output jacks can be used with a second  
amplifier and speakers in the control room, so you  
can compare the mix on your high grade monitors  
with the boombox speakers the rest of the world  
listens to. To switch between the two, turn one level  
control down and the other one up, or easier, use an  
external monitor A/B switch.  
This plug connects to one of the  
mixers Channel Insert jacks.  
ring”  
RETURN from processor  
Tip = Send (Output to effects device)  
Ring = Return (Input to effects device)  
Sleeve = Common Ground (Shield connects to all  
three sleeves  
Mix B Output (8-Bus)  
The MIX-B jacks are 1/4" unbalanced outputs that  
carry the Mix B signal. Well cover Mix B in depth  
later on, but briefly, its an independent stereo mix  
thats usually used for monitoring the multitrack  
recorder returns when tracking.  
Heres how to hook an outboard signal processor in  
line with the channel path (a serial” connection):  
RING  
TIP  
Channel Inserts  
vu  
The channel INSERT jacks allow you to break the  
channel signal path right after the mic preamp stage  
and its associated TRIM control (the low-cut filter  
too on some mixers) and insert a device such as a  
compressor, equalizer, or de-esser into the chain.  
IN  
OUT  
25  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
If you want to use an external mic preamp with  
your mixer (boo-hoo!), or perhaps a Voice Processor  
(combination preamp, compressor, equalizer, de-es-  
ser, and automatic word rememberer) you can com-  
pletely bypass the fabulous world famous Mackie mic  
preamp by bringing the signal from your outboard  
preamp into the mixer through the INSERT Return.  
Insert Jack Tricks – Direct Outputs and  
Inputs  
Besides being used for adding outboard signal pro-  
cessors to the channel signal path, the INSERT jacks  
can be used as pre-EQ direct outputs.  
Its a fact - Mackie mic preamps have become so  
famous that people buy our mixers just to have the  
preamps in their arsenal. To use a preamp by itself,  
with nothing else in the signal path to the recorder,  
use the INSERT SEND to connect it directly to the  
recorders input.  
To do this, youll need a custom cable with a stereo  
(TRS) plug wired with the hot lead connected to the  
RING, the shield connected to the sleeve, and noth-  
ing connected to the tip.  
If you insert a plug into the jack gently, youll feel  
two “clicks;” the first as the plug tip passes the ring  
contact, and the second when it settles into the tip  
contact. If you use a mono” (TS) plug and insert it  
only as far as the first click, the ring contact will con-  
nect to the plug, sending the preamp out to whatev-  
ers on the other end of the cable.  
Channel Insert jack  
Plugging this all the way into the jack will break  
the normalling contacts, replacing the Mackie pre-  
amp with the output from the outboard unit.  
This connection also bypasses the TRIM  
control, so youll need to adjust the Output  
Level control of your external preamp  
But waitacottinpickinminnit! The ring is the  
return, isnt it?  
Yes, but with the plug inserted only halfway, the  
normalling switch contacts in the jack dont open  
– send and return are still connected. Since the  
normal connection is still intact, the signal passes  
through the channel path as well as coming out the  
INSERT jack as a direct output. If youre using the  
console for sound reinforcement and recording each  
input separately to a multitrack recorder, this is the  
cleanest way to feed the recorder inputs.  
when using the Level-Setting Procedure. Its still im-  
portant to check the channel level, even when using  
an outboard unit as the front end.  
Utility Output (CFX Series)  
The stereo signal from the UTILITY OUT 1/4" TRS  
jacks is the same as the MAIN output, but with its  
own level control, allowing you to set the level to  
an auxiliary set of speakers or a recorder without  
disturbing the main mix level.  
Heres what an Insert looks like up-close when  
used as a Direct Output:  
These outputs are handy for driving ll” speakers  
in areas of a room that arent adequately covered by  
the main speakers. Or you might use them to feed  
speakers in the lobby, or the Green Room. (Regard-  
less of the color, every concert venue has a Green  
Room – its where the musicians and hangers-on  
hang out.)  
MONO PLUG  
Channel Insert jack  
Direct out with no signal interruption to master.  
Insert only to first click.”  
NOTE: If you want to keep the preamp signal out  
of the mix (you will if youre monitoring the returns  
from the recorder), push the plug all the way in. That  
will open the normal contacts.  
UTILITY outputs are taken after the main fader, so  
adjustment of the MAIN level control will affect the  
UTILITY output level.  
MONO PLUG  
Channel Insert jack  
Direct out with signal interruption to master.  
Insert all the way in to the second click.”  
26  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
the total impedance isnt lower than 2 ohms. Chances  
are, however, that the efficiency of the speakers will  
be different enough that theyll produce noticeably  
different volumes. This may or may not be what you  
want.  
PPM Series Outputs  
The PPM mixers have two power amplifiers built  
in. A flexible arrangement of switches and jacks allow  
you to use those two amplifiers for any combination  
of main and monitor speakers.  
Note that the stereo and mono PPM mixers have  
different labels on the speaker connectors. They also  
have different options for routing MAIN and MONI-  
TOR mixes to those two amplifiers.  
SPEAKER Out (PPM)  
These 1/4" TS jacks carry the outputs of the power  
amplifiers.  
Theres a convenient pushbutton to select the  
most common configurations. There are also patch-  
ing jacks that allow you to rearrange things to your  
liking, or add an external power amplifier for more  
fl exibility. See the PPM Applications for some sugges-  
tions  
Theres power behind these jacks – 125  
to 600 watts depending on the model.  
Dont connect them to anything other than  
passive speakers – not active speakers, not a record-  
er, not another mixer. PASSIVE SPEAKERS ONLY!  
Caution: Dont use standard guitar  
cables to connect your speakers. Guitar  
POWER AMP ROUTING  
408S  
2
X 250W STEREO  
STEREO MAINS  
LEFT MAIN  
MONITOR  
=
RIGHT  
=
EFFECTS  
cords are designed for line level signals  
(OVERRIDES INTERNAL EFX)  
EFX FOOT  
MAINS  
MONITOR  
LINE  
OUT  
L
POWER  
R
POWER  
SWITCH  
SEND  
AMP IN  
AMP IN  
and low currents, not the high currents and voltages  
of speaker levels. Use heavy duty speaker cables—at  
least 16 gauge. The heavier (lower gauge number)  
the better. Thin speaker cables equal thin sound!  
LEFT RETURN  
RIGHT RETURN  
L
MIXER OUT  
R
MIXER OUT  
COMPRESSOR  
OUT  
IN  
There are two SPEAKER OUT jacks for each ampli-  
fi er. The jacks are wired in parallel.  
On the stereo mixers, the choices for Power Amp  
routing are:  
POWER AMP ROUTING - In  
AMP 1 – MAIN Mono (left + right)  
AMP 2 – Monitor  
Or  
POWER AMP 1 / MAIN  
SPEAKER OUT  
POWER AMP 2 / MONITOR  
SPEAKER OUT  
POWER AMP ROUTING - Out  
AMP 1 – MAIN Left Channel  
AMP 2 – MAIN Right Channel  
OUTPUT POWER: 250 WATTS / CHANNEL  
MINIMUM SPEAKER LOAD: 2 OHMS / CHANNEL  
POWER AMP ROUTING  
AMP  
1
AMP  
2
When you connect two speakers to a single ampli-  
fi er, the load presented to the amplifier is the parallel  
impedance of both speakers. The total (parallel)  
impedance must be two ohms or greater.  
MAIN MAIN  
MAIN MONITOR  
408M  
2
X 250 WATTS  
EFFECTS  
(OVERRIDES INTERNAL EFX)  
EFX FOOT  
MAINS  
MONITOR  
LINE  
OUT  
POWER  
AMP IN  
POWER  
SWITCH  
SEND  
1
AMP IN  
2
RETURN  
MIXER LINE OUT  
COMPRESSOR  
OUT  
IN  
Two 8 ohm speakers in parallel equals 4 ohms.  
Two 4 ohm speakers in parallel equals 2 ohms.  
On the mono mixers, the choices are:  
The general formula for impedance in parallel is:  
POWER AMP ROUTING - In  
AMP 1 – MAIN  
AMP 2 – Monitor  
Or  
POWER AMP ROUTING - Out  
AMP 1 – MAIN  
AMP 2 – MAIN  
1
1
Z
etc.  
1
1
+
+
Z1 Z2 Z3  
In electronics, Z is the symbol for impedance. We  
dont have a clue as to what word Z stands for.  
Can you plug speakers with different impedances  
into the two jacks same amplifier? Sure, as long as  
On both the mono and stereo models, when the  
ROUTING switch is in the Out position, both power  
27  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
amplifiers are dedicated to the MAINs. If you want to  
connect a stage monitor, youll either need to use a  
powered speaker or an external power amplifier con-  
nected to the MONITOR LINE OUT jack.  
POWERING UP! – Power supplies and Ac-  
cessory Power  
Compact Mixers  
The speaker outputs are affected by the MAIN  
MASTER level control and the MAIN Graphic Equal-  
izer.  
Of course you have to be able to turn your mixer  
on – but you dont want to turn it off inadvertently,  
either. To keep such accidents from happening, we  
hide the POWER switch on the rear panel of all of the  
Mackie compact mixers.  
MONITOR Line Out (PPM)  
This is a 1/4" unbalanced jack with a line-level  
signal suitable for driving powered speakers or power  
amplifiers. The signal is fed pre-fader and pre-EQ  
from the mixers monitor bus. The MONITOR out-  
put has its own low-cut (rumble) filter, MONITOR  
MASTER volume, control and MONITOR graphic  
equalizer.  
Theres a power-on indicator on the front panel.  
Check your mixers manual for its location if its not  
obvious.  
At Mackie, our compact mixers have internal  
power supplies. A standard IEC connector and power  
cord connects the mixer to an AC outlet. The power  
cord is an industry-standard item, so if you leave it  
behind, you wont have to look too far for a replace-  
ment. Most computers use the same power cord, and  
you can buy one at most computer or office supply  
stores as well as your local Radio Shack or music  
store.  
MIXER LINE OUT (Mono)  
L or R MIXER OUT(Stereo)  
These are 1/4" unbalanced line-level jacks that  
provide the main mixer output(s). The jack is fed  
from the MAIN mixer bus (left and right busses in  
the stereo version), following the MAIN MASTER  
control and MAIN graphic equalizer, and just ahead  
of the POWER AMP IN jack(s).  
All Mackie mixers will operate equally well from  
50 or 60 Hz power. The Onyx mixers have world  
friendlypower supplies that operate from 100 to  
240 VAC (and they even ship with two power cords  
to accommodate US and European outlets). Other  
models are designed for only a single AC line voltage,  
depending on the country where you bought it. If you  
travel world-wide, youll need a step-up or step-down  
transformer in countries that have a different line  
voltage than whats specified for your mixer.  
You can connect the MIXER OUT to an external  
power amplifier for more power and more speak-  
ers. Plugging into these jacks does not interrupt the  
signal flow to the PPM’s built-in power amplifiers.  
POWER AMP IN (PPM)  
This is a 1/4” jack that accepts an unbalanced  
line-level signal. Whatever signal you plug into these  
jacks is combined with the internal mixer signals and  
routed to the power amplifiers. You could connect the  
LINE OUT jacks from another mixer (even another  
PPM) to the POWER AMP IN jacks to increase the  
number of channels available.  
8-Bus Console  
The 8-Bus console has an outboard power supply  
with the main power switch on its front panel. The  
switch is also the power-on indicator.  
Connect the power supply to the mixer using the  
special multiconductor cable provided, then connect  
the AC power to the power supply.  
You could connect the outputs from the opening  
bands mixing board to these inputs. This way you  
dont have to set up two complete sound systems  
— the other band can use their mixer together with  
your PPM, using its amplifiers and your speakers.  
On later production PPM mixers, these jacks  
are wired in the normalled through” configuration  
allowing you to use an Insert Cable for patching in  
an outboard graphic equalizer, limiter, or crossover  
network.  
28  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
BNC Lamp Socket  
Those decidedly non-audio-looking BNC connec-  
tors on the top panel of several Mackie mixers are for  
mounting and powering gooseneck lamps so you can  
fi nd the knobs in the dark. The BNCs are wired with  
the center post at +12 VDC.  
We recommend LittleLite lamps 12" gooseneck  
#12G or #12G-HI (a high-intensity version) for the  
smaller consoles, and the 18G-HI with an 18" goose-  
neck for the larger mixers. Buy them from your pro  
audio dealer.  
Now that weve worked our way through the  
functions of most of the parts of a console, lets get  
physical and take it section by section, looking at the  
actual hardware. Well continue to point out unique  
features of Mackie mixers, but with what you learn  
here, you should be able to walk up to just about any  
mixer and understand it in just a couple of minutes.  
29  
Compact Mixer Reference Guide  
 
MIXER ANATOMY: CHAPTER 2  
Notes  
30  
Compact Mixer Reference Guide  
 

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