Introduction 16-Channel Mic/Line Mixer

The 1642-VLZ PRO is perfect for applications where

more line-level inputs (and fewer mic preamps) are
needed.
Channels 1–8 are essentially the same as our
1604-VLZ PRO with mono line-level input and our
new ultra-high-quality XDR™ (Extended Dynamic
Range) mic preamps with the best RFI rejection of
any compact mixer design on the market and maxi-
mum freedom from ground loops.
Channels 9/10 and 11/12 (two physical chan-
nel strips) each have a stereo pair of line-level
inputs and a mono XDR™ mic preamp.
Channels 13/14 and 15/16 (also in two phys- Features
ical channel strips) each have a stereo pair of Unique hybrid configuration: 8 mic/line mono
line-level inputs only with fixed four-band equal- chs., 2 mic/stereo line chs., 2 stereo line chs.
ization at points that are especially beneficial to 10 XDR™ (Extended Dynamic Range) XLR mic inputs
with the best RFI rejection of any compact mixer
line-level inputs such as keyboards. design and maximum freedom from ground loops.
Like all of Mackie Designs’ mixers, the 1642-VLZ 8 balanced/unbalanced mono line inputs
PRO is designed for rugged, 24-hour-a-day use. It is 4 pairs of bal./unbal. stereo line inputs
a supremely flexible mixer, not just because of its True 4-bus design
multiple input/output configurations, but because Inserts and Direct Outs on Channels 1–8
of its true 4-bus architecture, 4 aux sends, and 3-band EQ with sweepable mid on Channels 1–8
extensive routing capabilities. 4-band fixed EQ on Channels 9/10, 11/12,
Built like a tank, the 1642-VLZ PRO is a team player 13/14, and 15/16.
that can stand up to vigorous use, day in and day out, any 75Hz, 18dB/oct. Low Cut filters on Channels
place it is installed. Its sturdy-yet-light steel monocoque 1–8, 9/10 and 11/12
construction houses rugged, double-sided through-hole- PFL/AFL (Solo In-Place) on every channel (global)
plated fiberglass circuit boards, and 60mm faders with VLZ™ (Very Low Impedance) architecture
ultra-tight lip seals for keeping out dust and other con- Control Room/Phones source matrix
taminants. Impact-resistant knobs are mounted so they 4 aux sends, 2 with master level controls
“ride” just above the steel chassis—they absorb impact XLR and 1/4" balanced main outputs plus mono
main output with level control
without trouble. They’re designed to last, too, thanks to
Balanced inputs and outputs (except RCAs,
co-molded potentiometers that don’t get brittle and crack phones & inserts)
up. Then we use metal stand-offs at regular intervals to Level set LED and marker
mount thick fiberglass circuit boards inside the mixer.
Applications
Continued on Page 3
Live sound mixing for churches, clubs, schools,
conference centers, boardrooms, trade shows,
presentations
Keyboards, drum machines and DJ mixing
RM1642 Rack-Mount Brackets, 12-inch and 18-inch
Multitrack studio, field recording
RunningLight™ Gooseneck Lamps. 1202-VLZ PRO
12-Channel Mic/Line Mixer, 1402-VLZ PRO 14-Channel
A/V presentations, video post-production, CD
authoring, multimedia
Mic/Line Mixer, 1604-VLZ PRO 16-Channel Mic/Line
Live broadcast remotes, ENG, ad production
Mixer, SRM450 Active 2-Way SR Loudspeakers, C300
passive 2-way SR Loudspeakers, M•800/M•1400i/
M•1400/M•2600 Power Amplifiers
Specifications
Mic Preamp Power Consumption
Equivalent Input Noise (20Hz–20kHz): 120VA.C., 50/60Hz, 50 watts
150Ω –129.5dBu
50Ω –131.0dBu Physical
0Ω –134.5dBu Weight 18.2 lbs. (8.3kg)
Frequency Response: Dimensions 5.45" x 16.63" x 17.28"
–1dB 5Hz–100kHz (138mm x 422mm x 439mm )
–3dB 3Hz–192kHz
IM Distortion (4 to 1 ratio SMPTE)
35dB gain 0.0008%
Harmonic Distortion (20Hz–20kHz) 16.63" (422mm)
35dB gain 0.0007%

5.45" (138mm)
Gain
Max +60dB
Min 0dB or Unity
Max Input +22dB
Input Impedance 1.3kΩ
Common Mode Rejection > 90dB
Common Mode Rejection Ratio > 140dB
Main Mix Noise1
Main Mix fader unity, ch. faders down: –90.5dB
Main Mix fader @unity, ch. faders @unity: –90.0dB
Total Harmonic Distortion (THD)2
0.005%
Attenuation (Crosstalk)3
17.28" (439 mm)

Channel Mute switch engaged: –84dBu

Channel fader down: –84dBu
Frequency Response4
20Hz to 60kHz: +0dB/–1dB
20Hz to 100kHz: +0dB/–3dB
Maximum Levels
Mic in: +22dBu
All other inputs: +22dBu
Main Mix XLR outputs: +28dBu
All other outputs: +22dBu
Impedances
5.45" (138mm)

Mic in: 1.3kΩ

Channel Insert return: 2.5kΩ
All other inputs: > 10kΩ
Tape out: 1.1kΩ
All other outputs: 120Ω
EQ Channels 1-8
High Shelving: ±15db @ 12kHz
17.28" (439 mm)
Mid Peaking: ±15dB, sweep 100Hz–8kHz
Low Shelving: ±15db @ 80Hz
Low Cut Filter: 18dB/octave, –3dB @ 75Hz
EQ Channel 9–16 Specifications footnotes:
High Shelving: ±15db @ 12kHz 1) 20Hz–20kHz bandwidth, 1/4" Main out, Channel Trims @ unity gain, channel EQs flat, all chan-
nels assigned to Main Mix, odd channels Pan left, even channels Pan right. Reference +4dBu.
High Mid Peaking: ±15dB, @ 3kHz 2) 1kHz @ +14dBu, 20Hz–20kHz.
3) 1kHz relative to 0dBu, 20Hz–20kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity.
Low Mid Peaking ±15dB, @ 800Hz 4) Any input to any output.
Low Shelving: ±15db @ 80Hz

2
 Radio frequency interference from TV/radio sta- All of this adds up to an extremely durable mixer
tions and cellular phone users is virtually eliminated, that can withstand major use. Multi-user venues such
thanks to Mackie’s new XDR mic preamp design. as churches, night clubs, A/V rooms and schools are
The mixer’s built-in power supply is beefy enough perfect homes for the 1642-VLZ PRO.
to handle major power consumption without breaking Ten XDR mic preamps deliver the finest quality
up. And there’s no bulky “wall wart” to be kicked out sound ever offered in a compact mixer. They cannot
of place or to cover up extra outlets. be damaged by hot patching. And they are imped-

3
 TRIM TRIM TRIM AUX SEND EFFECTS TO MONITORS
-10dBV -10dBV
U M
IC GAIN 1 U M
IC GAIN 11 U 15 U U U

12 16 TO AUX
1 1 1 SEND 1
0 60 0 60 -20 +20 +10 +20 +15
+15dB -45dB +15dB -45dB
O O O O O O

U U U
LOW CUT LOW CUT
75 Hz 75 Hz
18dB/OCT 18dB/OCT TO AUX
2 2 2 SEND 2
AUX U AUX U AUX U
O O

+10 O O

+20 O O

+15

1 1 1
U ASSIGN OPTIONS
O O

+15 O O

+15 O O

+15
U U U 1 3
SOLO MAIN MIX 1–2
2 2 2 O O

+20 TO SUBS 3– 4
U
O O

+15 O O

+15 O O

+15
PRE PRE PRE 4
2
U U U
SOLO C-R / PHNS RETURNS
+20 ONLY SOLO
PHAN PWR
O O

3 3 3
STEREO AUX RETURN
O O

+15 O O

+15 O O

+15
U U U U

4 4 4 LEFT RIGHT
0 dB=0 dBu
O O

+15 O O

+15 O O

+15 O O
MAX O

+20 O

PHONES TAPE IN 28
EQ EQ EQ
U U U 10
HI HI HI 7
12k 12k 12k
TAPE TO 4
-15 +15 -15 +15 -15 +15 MAX O O

MAIN MIX
U U U CONTROL ROOM 2

MID HI HI 0
MID MID
3K 3K 2
TAPE
-15 +15 -15 +15 -15 +15 O

MAX O

4
800 U U SOLO
7
FREQ LOW LOW SUBS 1– 2
200 2k MID MID 10
800Hz 800Hz
MODE LEVEL
100 8k -15 +15 -15 +15 SET 20
U U U SUBS 3 – 4 NORMAL (AFL)
LEVEL SET (PFL) 30
LOW LOW LOW
80Hz 80Hz 80Hz
MAIN MIX
RUDE SOLO LIGHT
-15 +15 -15 +15 -15 +15 SOURCE

PAN PAN PAN

LEFT LEFT LEFT LEFT

L R L R L R
RIGHT RIGHT RIGHT RIGHT
1 11-12 15-16 1 2 3 4 MAIN
MUTE MUTE MUTE
5 6 7 8 MIX
dB OL dB OL dB OL dB dB
10 10 10 10 10

5 -20 5 -20 5 -20 5 5

U U U U U
SOLO SOLO SOLO
5 5 5 5 5

10 10 10 10 10
1-2 1-2 1-2

20 20 20 20 20

30 3-4 30 3-4 30 3-4 30 30

40 40 40 40 40
50 50 50 50 50
60 L/R 60 L/R 60 L/R 60 60
O O O O O O

O O O O

REC TRACK EFX

1 8 B

4
ance-independent—frequency response remains the Solo has its own volume control and is switch-
same whether the mic preamp is presented with an able from AFL (In-Place) to PFL. Level setting is
extremely high or low-impedance load. Additionally, easy in PFL, especially when used in conjunction
mic channels (1 through 8, 9/10, & 11/12) have their with the mixer’s level set LED and marker (near
own switchable low cut filter (18dB/octave @ 75Hz), the 12-segment stereo LED ladder). Check a channel’s
so mic thumps, room rumble and stage mishaps are stereo placement by switching to AFL; the 1642-VLZ
left out of the mix without diminishing the audible bass PRO’s constant-loudness pan pots maintain a consis-
frequency range. tent loudness across the stereo horizon.
Four buses add mixing flexibility. Channels can be Log-taper 60mm faders deliver a consistent
assigned to buses 1-2, 3-4 and/or Main Mix L/R, and fade throughout the fader’s throw, so choppy fade-
the 4 subs can be assigned to left and/or right main ins and fade-outs are history. These faders have a
mix. A Control Room/Phones source matrix lets you co-polymer membrane that provides a continuously
route any combination of tape, subs 1-2, 3-4, main sealed barrier against dust and liquids without
mix or Aux 4 to headphones, control room outputs, interfering with fader travel. Similarly, the fader’s
and meters. This enables you to monitor 2-track tape long-wearing contact material (first designed for
output or route a click/cue track to phones, create use in exterior automotive sensors) means longer
special phones or broadcast mixes via the subs, or fader life and improved resistance to the elements.
create an extra stereo mix (with its own gain control) The 1642-VLZ PRO is designed for continuous,
for another zone, like a cry room, lobby, or other hassle-free use in any application or installation
such place. where extra line-level inputs are useful. And it’s
The 1642-VLZ PRO’s mono main out also has its packed with useful features and practical routing
own level control, so a mono mix can be sent to capabilities. Simply stated, this mixer offers fea-
another zone and adjusted accordingly. tures, peace of mind and excellent performance at
The mixer has four aux sends per channel strip an extremely affordable price.
with Aux Sends 1 & 2 switchable pre- or post-fader And it’s a Mackie!
and Aux Sends 3 & 4 post-fader.

5
 MONO LEVEL
MAIN MIX
MONO OUT
PHANTOM POWER –20 (FLICKER) OL (FLICKER)

LOGIC
(GLOBAL SWITCH) INSERT SOLO (GLOW) MUTE (GLOW)

PFL
SIP R

AUX 1
AUX 2
AUX 3
AUX 4
SIP L

MAIN R
MAIN L
SUB 1
SUB 2
SUB 3
SUB 4
CR/PHN L
CR/PHN R
TRIM 1/4" BAL
MAIN INSERT MAIN MIX
EQ FADER PAN ASSIGN LEFT OUT
2 MAIN MIX 2
LO MID HI MUTE L MAIN MIX
MIC IN 1 FADER 1 XLR BAL
3 75Hz 80 100 8K 12K
HPF R 3
+4/–10dB PAD
LOW CUT (XLR only)
LINE IN 1 2
1 XLR BAL
2
GAIN 3 MAIN MIX
FREQ RIGHT OUT
DIRECT OUT
(CH'S 1 8 ONLY) SIP L 3 1/4" BAL
ASSIGN
SIP R 4 TO MIX
L
TAPE OUT
PFL SOLO C-R/ R
AUX 1 TO SOLO LED
MAIN PHONES
SOURCE PHONES OUT A
MONO INPUT CHANNEL PRE AUX 2
(1 OF 8) PHONES
L
LEVEL
TAPE
–20 (FLICKER) AUX 3 R PHONES OUT B
SOLO (GLOW) TAPE IN C-R/PHONES MIX
TAPE LEVEL
OL (FLICKER)
AUX 4
MUTE (GLOW)
STEREO TRIM FADER 1 2 L
MIC IN (Chs 13/14 & 15/16 only)
LINE IN L MUTE
(Chs 9/10 & 11/12 only) LO MID MID HI CONTROL ROOM
OUT
MIC TRIM (FROM SUB 3 OUT) R
80 800 3K 12K ASSIGN C-R LEVEL
3 4
2 L (FROM SUB 4 OUT)
PAN
1 75Hz
HPF R
3
LOW CUT SOLO
LO MID MID HI 1 RELAY SOLO LEVEL
80 800 3K 12K 2
LINE IN R
4-BAND STEREO EQ
SIP L 3
28
SIP R 4 SIP/PFL RUDE SOLO LED 10
STEREO INPUT CHANNEL 7
(1 OF 4) 4

6
PFL SOLO 2
AUX 1 TO SOLO LED LEVEL SET 0
(PFL) LED 2
SOLO MIX 4
AUX 2 FADER 7
PRE 10
20
SUB 1 OUT 30
SUB 1 MIX L
AUX 3 METERS
(SUBMIX 3/7 IDENTICAL) (0VU = 0dBu)
R
AUX 4 ASSIGN TO MAIN MIX
SUB 5 OUT
EFX TO
MON FADER
L
AUX RETURN 1
SUB 2 OUT
R SUB 2 MIX L
LEVEL
(SUBMIX 4/8 IDENTICAL)
R
EFX TO ASSIGN TO MAIN MIX
MON SUB 6 OUT
L
AUX RETURN 2

R
LEVEL

MAIN/SUBS SOLO
AUX SEND 1
L LEVEL (AUX SEND 2 IDENTICAL)
AUX RETURN 3
AUX MIX
R
LEVEL
AUX SEND 3
(AUX SEND 4 IDENTICAL)

1-2/3-4

L
AUX RETURN 4

R
LEVEL
ASSIGN TO
C-R/PHNS
ONLY

SIP L
BUS TO WOODINVILLE
SIP R
SOLO
PFL
 Architect & Engineering Specifications anced RCA-type phono jacks, delivering nominal levels from
1. GENERAL CONFIGURATION. The mixer shall consist of –10dBV to +4dBu; one stereo pair of 1/4" TRS pre-fader
8 mono channels accommodating line and/or microphone insert points delivering and accepting levels from +4dBu
signals (Channels 1–8), two hybrid channels accomodating nominal to +22dBu max. The mixer’s Main Mix Mono output
stereo line and/or mono microphone signals (Channels 9/10 shall be fitted with one symmetrically balanced (also accept-
& 11/12) and two stereo channels accomodating stereo line ing unbalanced) 1/4" TRS phone jack, delivering nominal
inputs (Channels 13/14 &15/16); and shall include 8 Send/ levels from –10dBV to +4dBu.
Return channel Inserts and 8 channel Direct Outputs, chan- OTHER OUTPUTS: Input channels 1–8 shall each include
nels 1–8; 4 stereo pairs of Aux Return inputs; 2 stereo pairs a post-fader Direct Output, using bal/unbal 1/4" TRS phone
of Main Mix outputs; 1 Main Mix Mono output with level jacks, delivering nominal levels from –10dBV to +4dBu. The
control, 1 stereo pair of Control Room outputs; 4 Submaster mixer shall include 4 Submaster outs double-bused to 8
outs double-bussed to 8 outputs; 4 Aux Send outputs; 2 outputs, using bal/unbal 1/4" TRS phone jacks, delivering
stereo pairs of RCA-type Tape inputs and outputs; and 2 nominal levels from –10dBV to +4dBu; 1 stereo pair of Con-
stereo Headphones outputs. The mixer shall be capable trol Room outputs, using bal/unbal 1/4" TRS phone jacks,
of placement on a table or installation in a standard delivering nominal levels from –10dBV to +4dBu; 4 Aux
19-inch rack mount via RM1642-VLZ rack rail brackets (not Send outputs using bal/unbal 1/4" TRS phone jacks, deliv-
included); shall be fitted with 1 rocker-type Power switch; 1 ering nominal levels from –10dBV to +4dBu; and 2 stereo
3-pin power receptacle with user-replaceable 5x20mm fuse Headphones outputs, using an unbalanced 1/4" TRS phone
drawer; 1 BNC socket, providing 12VDC for fitting an exter- jack (tip=left, ring=right, sleeve=ground).
nal lamp (not included); and shall be entirely self-contained. 4A. MIXER INPUT SECTION—ALL CHANNELS. In addition
2. MIXER INPUTS. to the controls listed in section 2 (MIXER INPUTS), each
CHANNELS 1–8: Each channel shall include an XDR™ channel shall include 4 rotary Aux Send controls, providing
(Extended Dynamic Range) electronically balanced micro- up to 15dB gain; 1 pre/post switch for Auxes 1 and 2;
phone input, using an XLR-3-F-type connector, accepting 1 rotary Pan control, 4dB attenuation panned center; 1
nominal levels from –60dBu to +4dBu via a rotary Trim Mute switch; 1 dual-mode solo switch (AFL or PFL, globally
control. 48V phantom power shall be globally controlled switched); 3 output Assign switches, delivering the chan-
via a rocker-type switch. Each channel shall also include a nel’s signal, relative to its Pan setting, to the Main L-R Mix,
balanced/unbalanced (bal/unbal) line input wired in paral- Submasters 1–2 and Submasters 3–4; and 1 channel Fader,
lel, using 1/4" TRS phone jacks, accepting nominal levels providing up to 10dB above unity gain. Additionally, each
from –45dBu to +4dBu. Each channel shall include a pre- channel shall include two LED indicators; a –20/Solo LED
fader Insert point, using 1/4" TRS phone jacks (tip=send, acting as a Signal Present indicator by flickering and as a
ring=return, sleeve=ground), delivering and accepting nomi- channel Solo indicator by glowing steadily; and an OL/Mute
nal levels from –10dBV to +4dBu. LED, acting as an overload indicator by flickering and as a
CHANNELS 9/10 & 11/12 (two channel strips): Each channel channel Mute indicator by glowing steadily.
strip shall include an XDR™ (Extended Dynamic Range) elec- 4B. CHANNELS 1–8. In addition to the controls listed
tronically balanced microphone input, using an XLR-3-F-type in Section 2 and 4A, each channel shall include 4 rotary
connector, accepting nominal levels from –60dBu to +4dBu equalization (EQ) controls: ±15dB fixed 12kHz shelving
via a rotary Trim control. Phantom power shall be globally- gain, ±15dB midrange peaking gain, 100Hz – 8kHz mid-
controlled via a rocker-type switch. Each channel strip shall also range frequency, ±15dB fixed 80Hz shelving control and an
include a stereo pair of balanced/unbalanced (bal/unbal) line 18dB/octave 75Hz Low Cut filter accessible via push switch.
inputs wired in parallel, using 1/4" TRS phone jacks, accepting 4C. CHANNELS 9–16. In addition to the controls listed
nominal levels from –45dBu to +4dBu. in Section 2 and 4A, each channel shall include 4 rotary
CHANNELS 13/14 & 15/16 (two channel strips): Each equalization (EQ) controls: ±15dB fixed 12kHz shelving gain,
channel strip shall include a stereo pair of balanced/ ±15dB fixed 3K High midrange peaking gain, ±15dB fixed
unbalanced (bal/unbal) line inputs wired in parallel, using 800HZ Low midrange peaking gain, and ±15dB fixed 80Hz
1/4" TRS phone jacks, accepting nominal levels from shelving control. Channels 9/10 & 11/12 also include an
–45dBu to +4dBu. 18dB/octave 75Hz Low Cut filter accessible via push switch.
OTHER INPUTS: The mixer shall include 8 bal/unbal Aux 5. MIXER OUTPUT SECTION. The mixer shall have 1 Main
Return inputs, forming four stereo pairs, using 1/4" TRS Mix stereo fader, providing up to 10dB gain; 4 Submaster
phone jacks, accepting nominal levels from –10dBV to mono faders, each providing up to 10dB gain; independent Left
+4dBu; and 1 stereo pair of Tape In jacks, using unbalanced and Right assign switches for each Submaster; separate con-
RCA-type phono jacks (labeled TAPE OUT), accepting nomi- trol room and phones rotary stereo level controls, providing up
nal levels from –10dBV to +4dBu. to 10dB gain; 1 Source Matrix, including 4 switches to deliver
3. MIXER OUTPUTS. any combination of stereo signals to the Control Room, Phones
MAIN OUTPUTS: The mixer’s Main Mix stereo outputs and Meters, including Main Mix, Submasters 1–2, Submasters
shall be fitted in three ways: Using balanced a stereo pair 3–4 and Tape, which shall be replaced by solo signals resulting
of XLR-3-M-type connectors, delivering maximum output of from the engagement of any Solo switch; 1 rotary stereo Tape
28dBu, including 1 recessed Main Output Level switch to In level control, providing up to 20dB gain; 1 Tape to Main
provide 30 dB of attenuation (XLR outputs only); using a Mix switch; 1 Solo Mode switch to globally determine solo
stereo pair of symmetrically balanced (also accepting unbal- type (pre-fader listen or after-fader listen, in place); 1 rotary
anced) 1/4" TRS phone jacks, delivering nominal levels stereo Solo level control, providing up to 10dB gain; 4 rotary
from –10dBV to +4dBu; and using a stereo pair of unbal- stereo Aux Return level controls, providing up to 20dB gain; 2

7
Effects to Monitor rotary controls, providing up to 15dB gain,
delivering summed Aux Return 1 or 2 signals to Aux Send 1 or
2, respectively; an Aux Return 3 Assign switch, used in conjunc-
tion with a 1–2/3–4 switch, delivering Aux Return 3 signals
to one output pair, including Main Mix, Submasters 1–2 and
Submasters 3–4; an Aux Return 4 to Control Room/Phones Only
switch; a global Aux Return Solo switch with associated LED; 2
rotary Aux Send Master controls for Aux Sends 1 and 2, provid-
ing up to 10dB above unity gain; a Solo switch with associated
LED for each of Aux Sends 1 and 2; a blinking master Solo
indicator LED, a Level Set LED indicating a PFL solo condition, a
Power indicator LED; and a Phantom Power indicator LED.
6. METERING. The mixer shall include 1 stereo 12-segment
LED meter with points at –30, –20, –10, –7, –4, –2, 0, +2,
+4, +7, +10, and 28dB (Clip). The source signals for the meters
shall be the same signals selected in the Source Matrix, and a
solo condition shall replace the Source selection with the soloed
channel(s). The meters shall be calibrated such that a 0dBu
signal at the Control Room output shall be indicated as 0dB on
the meters, ±1LED.
7. PHYSICAL CONFIGURATION. The mixer shall be made of
steel and aluminum, painted dark gray and black with light gray FILES FOR DOWNLOADING
graphics. The mixer shall weigh 18.2 lbs, (9.1 kg). Optional rack- 1642VLZP.PDF this specification sheet
mount brackets shall allow the mixer to be mounted in a rack 1642VPAE.TXT text version of Architects
system. Dimensions of the mixer shall be, in Desktop Mode, and Engineering Specifications
5.45" (138mm) in height, 16.63" (442mm) in width and 17.9" for insertion into proposals
(455mm) in depth.
8. SPECIFICATIONS. In addition to specifications already
cited, the mixer shall meet or exceed the following specifica-
tions. Frequency response, microphone input to any output,
20Hz to 60kHz, +0dB/–1dB; Total Harmonic Distortion (THD),
1k@+14dBu, 0.0007%; Equivalent Input Noise (EIN), micro-
phone input to insert send, –129.5dBm; Common Mode Rejec-
tion (CMR), microphone input to insert send, maximum gain,
1kHz, ≥90dB; Typical Main Output noise, all channels assigned,
odd channels panned left, even channels panned right, Main
Mix fader down, channel faders down, –100dBu; Signal to
Noise ratio, ref +4dBu operating level, 90dB; Attenuation, ref.
0dB @ 1kHz, Channel Mute engaged, –84dBu, Channel Gain
control down, –84dBu; Input impedance, microphone inputs,
1.3 kΩ; Channel Insert return, 2.5 kΩ; All other inputs, greater
than 10 kΩ; Output impedance, Tape Out, 1.1 kΩ; All other
outputs, 120Ω.
The mixer shall be a Mackie Designs 1642-VLZ PRO.

16220 Wood-Red Rd NE, Woodinville, WA, 98072

ph 425.487.4333, fax 425.487.4337, Mackie Designs continually engages in research related to product improvement. New material, produc-
e-mail: [email protected], web: www.mackie.com tion methods, and design refinements are introduced into existing products without notice as a routine
expression of that philosophy. For this reason, any current Mackie Industrial product may differ in some
UK 2 Blenhiem Ct., Hurricane Way, Wickford, Essex, SS11 8YT, ph + respect from its published description, but will always equal or exceed the original design specifica-
44 1268 571212, fax + 44 1268 570809, e-mail: [email protected] tions unless otherwise stated. ©1999-2000 Mackie Designs Inc. All rights Reserved. The “Mackie.”
FRANCE Rue de la Guerlande, 71880 Chatenoy-le-Royal, logo and the “Running Man” figure are registered trademarks of Mackie Designs Inc. VLZ, VLZ PRO and
ph 03.85.46.91.60, fax 03.85.46.91.60, e-mail: rcf.commercial XDR are trademarks of Mackie Designs Inc. Part No. 091-297-00.
@wanadoo.fr ITALY Via G. Ferraris 2/A, 42029 S. Maurizio (RE), ph
+39.0522.354111, fax +39 0522 551875, e-mail: [email protected]

8
GERMANY Kuhlmannstrasse 7, 48282 Emsdetten, ph +49.2572.
96042.0, fax +49.2572.96042.10, e-mail: [email protected]