MackieメーカーCR1604 - VLZの使用説明書/サービス説明書
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CR 1 604-VLZ MIC / LINE MI XER O WNER ’ S MAN U AL AUX SENDS STEREO AUX RETURNS EFFECTS TO MONITORS TO AUX SEND 2 TO AUX SEND 1 1 2 PWR PHAN SOLO SOLO 1 2 1 2 3 4 1 2 C - R / PHNS ONLY RETURNS SOLO .
CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
3 W e realize that you must have a powerful hankerin’ to try out your new CR1604-VLZ. Or you might be one of those people w ho never reads manuals. Either way , all we ask is that you read this page NOW , and the rest can wait until you’re good and r eady .
4 AUX SENDS STEREO AUX RETURNS EFFECTS TO MONITORS TO AUX SEND 2 TO AUX SEND 1 1 2 PWR PHAN SOLO SOLO 1 2 1 2 3 4 1 2 C - R / PHNS ONLY RETURNS SOLO MAIN MIX TO SUBS ASSIGN OPTIONS 1 – 2 3 – 4 U O.
5 CONTENTS AUX ............................................................... 20 PRE ............................................................... 21 5/6 SHIFT ..................................................... 21 OUTPUT SECTION DESCRIPTION ....
6 CR1604-VLZ 8-T r ack T r acking 8 7 6 5 4 3 4 5 6 7 8 9 10 11 12 13 14 15 16 21 1 2 3 4 R L R R L R L R L R L R 1 2 3 4 5 6 DIRECT OUT BAL/UNBAL CHANNEL INSERTS AUX RETURNS MAIN INSERT C/R OUT BAL/U.
7 CR1604-VLZ Ster eo P .A. 8 7 6 5 4 3 4 5 6 7 8 9 10 11 12 13 14 15 16 21 1 2 3 4 R L R R L R L R L R L R 1 2 3 4 5 6 CHANNEL INSERTS AUX RETURNS MAIN INSERT MONO STEREO P HONES OUT 12 3 4 CHANNEL IN.
8 CR1604-VLZ Video Setup 8 7 6 5 4 3 4 5 6 7 8 9 10 11 12 13 14 15 16 21 1 2 3 4 R L R R L R L R L R L R 1 2 3 4 5 6 CHANNEL INSERTS AUX RETURNS MAIN INSERT MONO STEREO P HONES OUT 12 3 4 CHANNEL INPU.
9 CONVER TING TO RACKMOUNT MODE Not only is the new CR1604-VLZ a compact, professional-quality tabletop mixer , it’s rack- mountable! Its unique rotating input pod makes this possible. One of the things that revolutionized the com- pact mixer industry was the “convertible pod” found on the original, classic CR-1604.
10 At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, and the ulti- mate destination for your sound: a tape recorder , P A system, etc. A few of the features described in this section are on top of the mixer , but most are out back on the “pod.
11 LINE INPUTS These 1 / 4 " jacks share circuitry (but not phantom power) with the mic pr eamps. Y ou can use these inputs for virtually any signal you’ll come across, from instrument levels as low as –40dB to operating levels of –10dBV to +4dBu, as there is 40dB of gain available via the TRIM knob .
12 SPLIT MONITORING With split monitoring, you use the first eight channels for your sound sources: vocal mics, drum mics, keyboard/synth outputs, guitar effects outputs, that sort of thing. From there, the channels manipulate the sound, but ar e not assigned to the output section.
13 EFFECTS: SERIAL OR P ARALLEL? Y ou’ve heard us carelessly toss around the terms “serial” and “parallel.” Here’ s what we mean by them: “Serial” means that the entir e signal leaves the mixer ( INSERT send), is routed through the effects device, and returns to the mixer ( INSER T return).
14 This method is exactly the same as the double- busing featur e found in other mixers. Built-in double busing is nothing mor e than Y -cords living inside the mixer instead of hanging out the back. If we had room for the extra jacks, we would have thrown them in, but we don’t, so we didn’t.
15 MAIN INSER T 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 befor e the MAIN L-R MIX fader . Insert cables must be wir ed thusly: “tip” This plug connects to one of the mixer’s Channel Insert jacks.
16 POWER SWITCH If this one isn’t self-explanatory , we give up. Y ou can leave this switch on all the time; the CR1604-VLZ is conservatively designed, so heat buildup isn’t a problem even in 24-hour -a-day operation. There’ s nothing that will burn out or get used up.
17 CHANNEL STRIP DESCRIPTION A Clean Fade Faders are not rocket science — they operate by dragging a metal pin (the wiper) across a carbon-based strip (the track). It is possible for airborne crud to land on the track. Should that happen, you may hear scratchy noises or signal drop- outs as the wiper stumbles over the crud.
18 If you’re printing new tracks or bouncing ex- isting ones, you’ll also use the 1–2 and 3–4 switches, but not the L–R switch. Here, you don’t want the subgroups sent back into the MAIN L-R MIX , but sent out, via the SUB OUTS jacks, to your multitrack inputs .
19 CONST ANT LOUDNESS ! ! ! The CR1604-VLZ’s PA N controls employ a design called “Constant Loudness.” It has nothing to do with living next to a freeway .
20 20 Hz 100 Hz 1k Hz 10k Hz 20k Hz –15 –10 –5 0 +5 +10 +15 20 Hz 100 Hz 1k Hz 10k Hz 20k Hz –15 –10 –5 0 +5 +10 +15 Most of the root and lower harmonics that define a sound are located in the 100Hz–8kHz frequency range, and you can cr eate drastic changes with these two knobs.
21 W e recommend going into a ster eo reverb in mono and r eturning in ster eo. W e have found that on most “ster eo” r everbs, the second input just ties up an extra aux send and adds nothing to the sound. There ar e exceptions, so feel free to try it both ways.
22 AUX SENDS STEREO AUX RETURNS EFFECTS TO MONITORS TO AUX SEND 2 TO AUX SEND 1 1 2 PWR PHAN SOLO SOLO 1 2 1 2 3 4 1 2 C - R / PHNS ONLY RETURNS SOLO MAIN MIX TO SUBS ASSIGN OPTIONS 1 – 2 3 – 4 U O O +20 U O O +20 U O O +1 5 U O O +1 5 U O O +20 U O O +20 U O O +10 U O O +1 0 LEFT RIGHT PHONES LAMP 12 V 0.
23 Now you know how to select the signals you want to send to the engineer’s control room and/or phones. From there, these signals all pass through the same level control, aptly named: C-R/PHONES As you might expect, this knob controls the levels of both the ster eo C-R OUTS and PHONES output .
24 MODE (NORMAL (AFL)/LEVEL SET (PFL)) Y ou may have already seen this, but in case you missed it: The CR1604-VLZ’s solo system comes in two flavors: NORMAL (AFL) (sometimes called SIP , or solo-in-place) and LEVEL SET (PFL) (sometimes called PFL, or pre-fader -listen).
25 METERS The CR1604-VLZ’ s peak metering system is made up of two columns of twelve LEDs. Decep- tively simple, considering the multitude of signals that can be monitor ed by it. If nothing is selected in the SOURCE matrix and no channels are in SOLO , t h e meter display will just sit there.
26 AUX SENDS SOLO Once again, in a live sound situations AUX SEND 1 and 2 are likely to feed your stage monitors. Y ou’ll want to check the mix you’re sending them, and that’s what these two but- tons are for . ( AUX 3 through AUX 6 have no such switch.
27 MIX ( MAIN MIX TO SUBS switch up) and you did a drum fade-out using subgroup faders 1 and 2 , the “dry” signals would fade out, but the “wet” signals would keep on singing. All you would hear is the drum reverb (the “wet”), and none of the original drum signals (the “dry”).
28 MODIFICA TIONS CR1604-VLZ Post-EQ Mod This changes AUX SENDS 1 and 2 , with the pre switch engaged, to r eceive their signals post- EQ instead of pre- EQ . The signal remains post-low cut, pre-mute and pr e-fader . W ith the pre switch disen- gaged (up), the signals ar e not affected by the mod.
29 UL W arning CAUTION! These modi- fication instructions are for use by qualified per - sonnel only. T o avoid electric shock, do not perform any servicing other than changing the fuse unless you are qualified to do so. Refer all servicing and modifying to qualified personnel.
30 CR 1 6 0 4- V LZ B L OCK DIA GR AM MAIN L SUB 3 MAIN R SUB 2 SUB 1 SUB 4 AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 AUX 6 SIP L SIP R PFL LOGIC 75Hz HPF MID HI 80 100–8K 12K LO L R 1 2 3 4 SIP L SIP R PFL PHA.
31 GAIN STRUCTURE DIAGRAM +22dBu max in 10dB loss, TRIM down 40dB gain, TRIM up LINE IN, all channels MIC IN, all channels 60dB gain, TRIM up 10dB gain, TRIM down +14dBu max in +15dB up –15dB down .
32 SPECIFICA TIONS Main Mix Noise 20Hz–20kHz bandwidth, 1 ⁄ 4 " Main Out, channel Trims @ unity gain, channel EQs flat, all channels assigned to Main Mix, odd channels panned left, even channels panned right Main Mix fader unity, channel faders down: –86.
33 SER VICE INFO Details concerning W arranty Service ar e spelled out on the W arranty Card included with your mixer (if it’s missing, let us know and we’ll rush one to you). If you think your CR1604-VLZ has a problem, please do everything you can to confirm it befor e calling for service.
34 This Glossary contains brief definitions of many of the audio and electronic terms used in discussions of sound mixing and recording. Many of the terms have other meanings or nuances or very rigorous technical definitions which we have sidestepped here because we figur e you already have a lot on your mind.
35 console A term for a sound mixer , usually a large desk-like mixer . cueing In broadcast, stage and post-production work, to “cue up” a sound source (a r ecord, a sound effect on a CD, a song o.
36 echo The reflection of sound from a surface such as a wall or a floor . Reverberation and echo ar e terms that can be used interchangeably , but in audio parlance a distinction is usually made: ech.
37 second, which gives us the sensation of pitch, harmonics, tone and overtones. Fr equency is measured in units called Hertz (Hz). One Hertz is one repetition or cycle per second. gain The measure of how much a circuit ampli- fies a signal. Gain may be stated as a ratio of input to output values, such as a voltage gain of 4, or a power gain of 1.
38 input module A holdover from the days when the only way that real consoles wer e built was in modular fashion, one channel per module. See channel strip . knee A knee is a sharp bend in an EQ response curve not unlike the sharp bend in your leg. Also used in describing dynamics processors.
39 pan, pan pot Short for panoramic potentiometer . A pan pot is used to position (or even move back and forth) a monaural sound source in a ster eo mixing field by adjusting the source’ s volume between the left and right channels.
40 equals the center frequency divided by the dif- ference between the upper and lower –3dB frequencies. A peaking EQ center ed at 10kHz whose –3dB points are 7.
41 stereo Believe it or not, ster eo comes from a Greek word that means solid. W e use stereo or stereophony to describe the illusion of a con- tinuous, spacious soundfield that is seemingly spread around the listener by two or mor e re- lated audio signals.
42 APPENDIX B: CONNECTIONS “XLR” CONNECTORS Mackie mixers use 3-pin female “XLR” connectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the “h.
43 goes to the ground (earth) connection at the unbalanced input. In most cases, the balanced ground (earth) will also be connected to the ground (earth) at the unbalanced input. If there ar e ground-loop problems, this connection may be left disconnected at the balanced end.
44 input, for example, will automatically unbalance the input and make all the right connections. Conversely , a 1 ⁄ 4 " TRS plug inserted into a 1 ⁄ 4 " unbalanced input will automatically tie the ring (low or cold) to ground (earth).
45 MUL TS AND “Y”s A mult or “Y” connector allows you to route one output to two or more inputs by simply providing parallel wiring connections. Y ou can make “Y”s and mults for the outputs of both unbalanced and balanced circuits. Remember: Only mult or “Y” an output into sev- eral inputs.
46 APPENDIX C: BALANCED LINES, PHANTOM POWERING, GROUNDING AND OTHER ARCANE MYSTERIES What is it, exactly? The obvious external power source for any modern microphone is a battery . About the only electronic advantage that a battery has is that its output is pure DC.
47 the DC power is applied common-mode. The audio travels via pins 2 and 3, the power trav- els between pins 2 and 3 simultaneously , and pin 1 is the ground for both audio and power . Microphones that do not r equir e power simply ignore the DC pr esent between pin 2/pin 3 and pin 1.
48 Do’ s and Don’ts of Fixed Installations If you install sound systems into fixed installa- tions, ther e are a number of things that you can do to make your life easier and that incr ease the likelihood of the sound system operating in a predictable manner .
49 Many “authorities” tell you that shields should only be connected at one end. Some- times this can be true, but for most (99%) audio systems, it is unnecessary .
PAN AUX 3 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 EQ 5 4 6 5/6 SHIFT PRE PRE PRE PRE PRE PRE PRE PRE TRIM 12 3 456 78 SOLO L - R 3 – 4 1 – 2 SOLO L - R 3 – 4 1 – 2 SOLO L - R 3 – 4 1 – 2 SOLO L - .
PATENT PENDING 4321 INSERT INSERT INSERT LINE INSERT MIC 4 MIC 3 MIC 2 MIC 1 BAL UN- BAL BAL UN- BAL BAL UN- BAL BAL UN- BAL LINE LINE LINE O O +6 PHANTOM POWER 120 VAC 50/60 Hz 20W 315mA/250V SLO-BLO.
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Mackie CR1604 - VLZをまだ購入していないなら、この製品の基本情報を理解する良い機会です。まずは上にある説明書の最初のページをご覧ください。そこにはMackie CR1604 - VLZの技術情報の概要が記載されているはずです。デバイスがあなたのニーズを満たすかどうかは、ここで確認しましょう。Mackie CR1604 - VLZの取扱説明書の次のページをよく読むことにより、製品の全機能やその取り扱いに関する情報を知ることができます。Mackie CR1604 - VLZで得られた情報は、きっとあなたの購入の決断を手助けしてくれることでしょう。
Mackie CR1604 - VLZを既にお持ちだが、まだ読んでいない場合は、上記の理由によりそれを行うべきです。そうすることにより機能を適切に使用しているか、又はMackie CR1604 - VLZの不適切な取り扱いによりその寿命を短くする危険を犯していないかどうかを知ることができます。
ですが、ユーザガイドが果たす重要な役割の一つは、Mackie CR1604 - VLZに関する問題の解決を支援することです。そこにはほとんどの場合、トラブルシューティング、すなわちMackie CR1604 - VLZデバイスで最もよく起こりうる故障・不良とそれらの対処法についてのアドバイスを見つけることができるはずです。たとえ問題を解決できなかった場合でも、説明書にはカスタマー・サービスセンター又は最寄りのサービスセンターへの問い合わせ先等、次の対処法についての指示があるはずです。
