Mackie 1604VLZ Mixing Console - Overview 

Yes, it's a great mixer. Note 150 USD only on the second-hand market - mine cost about £650 new over 10 years ago!

@@FarewellOldFriends I used to have the old 8 bus that was pre this mixer. But I prefer the sound of the xdr preamps on the 1604, also like it more than the newer revisions of the 1604. Aint a Neve or API but it’s still more than just a ”good enough” preamp.

I just bought a second hand one for $100 Australian dollars. I don’t know what I’m going to do with it cause I’ve pretty much gone digital now but it was too cheap to pass up.

Thanks!

Thanks!

GahDub I know this was 6 years ago but you would use the sends. You can make four different mono headphone mixes by using the sends.

Hi Scott, It's true that the 1604's line inputs are genuinely balanced, but its gain structure diagram indicates that its line inputs have 15dB less gain than the XLR inputs. That could be an issue for connecting low-output sources, although it's probably just about useable for dynamic mics on drums or super-loud vocalists. Properly balanced dynamic mics should ignore phantom power, of course, although it's wise to connect them up before turning the phantom power on!

Alex Barcic Hi Alex. You could do that, but bear in mind that the mono out is just the sum of the main L/R outputs, after the output insert points, so both the mono and main outs get the full frequency range of the mix. You would have to insert a low-pass filter after the mono output and a high-pass filter after the main L/R outputs if you wanted to split the frequency range between main and sub speakers. Otherwise, it would only make sense if your sub-woofer already has a low-pass filter built into it, and you were happy to send the full frequency range to your main L/R speakers at the same time (both of these conditions could be valid in practice). But I think the more predictable option would be - as you suggest - to hang an active crossover on the main outs and feed your main L/R and sub-woofer speakers from that. I'd certainly find it more intuitive to generate a flat frequency response mix from the mixer (which may be relatively constant from venue to venue), and leave the adjustment of the main/sub PA amp/speaker balance (which could vary dramatically between venues and speaker cabinets) to a dedicated crossover scheme.

FarewellOldFriends Ok. Thank you very much

+One Wish Hi One Wish - Not really sure what your setup is, what flavour of MPC you have etc. Regardless of your particular setup, you've clearly managed to create a feedback loop one way or another. Look for any path that exists from the output back into the mixer, for example: a) Directly into an input b) Via any of the samplers or PC audio interfaces (including the MPC's outputs) that are connected to the mixer and may have an input-to-output pass-through routing. c) FX assignments - maybe you are looping back via one of them. d) A live mic in your control room connected to one of the mixer inputs Not sure why you are connecting to the MPC via the Control Room outputs - c/r assignments may be a source of feedback. If it's still not clear what's going on, pull all the signal cables out of the mixer and steadily re-plug them one at a time until you notice the feedback squeal. Good luck!

+FarewellOldFriends P.S. I only just saw your post but it was dated 2 months ago - odd!

Please see my response to your identical posting on my Mackie 1402VLZ video.

+udmbr Hi Marie - I can't tell from your description exactly what you are trying to do, so I'll have to guess! From your videos, It looks like you are already playing live with your band, so your existing power amp is probably hooked up to a pair of passive speakers for main front-of-house (FOH) P.A. If that's so, I'll assume you are adding your new monitors as vocal foldback monitors, so (see Page 7 of the User Manual): a) Feed the mixer's Aux 1 output to the powered monitor's line input. b) If the powered monitor has an output for a second (slave) speaker, that's where you plug your non-powered monitor, using a suitable cable, most likely jack-jack (try a guitar lead to start with). Then create a foldback (monitor) mix using the individual channel Aux1 controls (set to PRE-FADE), and set the overall output level using the Aux Master control (set to mid-way as a starter). Adjust levels for maximum foldback (monitor) level before feedback: use the input level control on the powered monitor, which is easier to get to when you're standing by the mic. This takes some practice, and will vary from venue to venue. As far as the sub-woofer is concerned, I am assuming this is to help out your main FOH speakers at the low end. In that case, you need some way to feed the sub-woofer with a mono mix of the main stereo output. Fortunately, there is a MONO OUT on this mixer, which you could use. This feed needs to go through a low-pass filter, but if your powered sub-woofers already have a low-pass filter built-in (as many do), you may have a solution straight away. If not, it will need an active crossover network, and that's really outside the scope of what we can go into here. I would recommend asking an experienced sound engineer to show you the ropes, the first time you set it up. There's quite a bit in the manual, which is here: mackie.com/sites/default/files/PRODUCT%20RESOURCES/MANUALS/Owners_Manuals/1604VLZ4_OM.pdf Hope some of that helps!

+FarewellOldFriends, Thank you very much for your time and effort to response my question. Yes, you’re right that I already playing live with my beloved band Da-NOIZE (facebook.com/DaNoizeBand/) - Ups! sorry for advertising it J I actually tried exactly the same setup - A & B part and powered sub-woofer last night and I really want to thank you for making me happy to know that I’m on the right track J. I still need to try to make sure I understand what you mean about “creating a foldback (monitor)” though J Once again, thank you very much for your time. I’m so glad there are some people like you willing to help dummy people like me J Please stay helpful and humble because I might ask you again about something else later J Advance Happy New Year!! Best Regards, Marie

+udmbr Hi Marie - Foldback is simply an older term for Monitor. It means that you can 'fold' some of the main sound back to the performer so he or she can hear what they're singing or playing. You will need to hear a completely different balance, or mix, of sounds from your monitor speakers from what the audience hears via the main FOH outputs. You will use the Aux1 controls on the individual channels to create that new mix. Typically, the monitor mix is set up for the vocalists, since they need to hear themselves sing in order to stay in tune with each other and with the instrumentalists. Start the monitor mix with the lead vocalist's channel, and try and get as much of that in the monitor as you can before it starts to squeal (feedback). Then back it off a bit for safety! Then add in the other vocalists one at a time until you can all hear each other singing, and can lock together in tune. Finally, add a bit of the keyboards, which will give the vocalists a pitch reference to keep them in tune with the instrumental part of the band. You won't need bass or drums in the monitor mix - you hear enough of them directly - it's because they're so loud that you need monitors in the first place ;-) As time goes by, you may decide to get an additional powered monitor and provide a second, different, monitor mix - say one for the lead vocalist, and one for the backing vocalists. The Mackie allows you to do that via Aux2, but that's as far as it goes with that mixer, as monitor mixes must be PRE-FADE, and Auxes 3-6 are fixed POST-FADE, so they're only useful for effects. Incidentally, on the Mackie, you can route effects to Aux 1 and 2 as well as to the main FOH mix: it sometimes makes it easier to pitch your vocals if you have a bit of reverb in your monitor. This might also allow you to work with lower monitor levels, with less risk of feedback. It will need a lot of experimentation during rehearsals! The band sounds great - all the best for 2016!

+FarewellOldFriends, Thank you very much. I learned a lot from your response. I really appreciate your help. and the compliments about my band :-)

Digger Yo Not sure what you are referring to, but if it's breath popping (especially on 'b' and 'p' sounds), you need to place a good windscreen in front of your mic, and be prepared to back away from it when singing loudly. If necessary, reduce the low-frequency with the channel equalizer.

+Damian Bartosiewicz Hi Damian - You are doing the correct thing in using the TAPE OUT for recording: that is the same signal as the MAIN LR BUS out (which you would normally feed to your FOH PA amplifier), i.e. the full mix. This is the conventional thing to do. Note that the TAPE OUT signal is taken after the main output fader, so its level will depend on the level you're sending to the PA amp. That's not too much of a problem as you would normally arrange to have the main faders around 0dB when you've set everything else up correctly. If you have too much signal into your recorder from the TAPE OUT sockets, your recorder input may be set too sensitive: it should be expecting a Line level signal. Make sure you're not accidentally going into microphone inputs, which will be MUCH too sensitive, and will overload even if you turn the recorder's input level control right down! If your recorder has only one physical input, you will have to set its sensitivity by selecting LINE level through some menu or via a MIC/LINE selector switch. If it's just marked as High/Low sensitivity, you will want it at Low. You certainly do not want to use the CR (Control Room) output, as this will follow the solo buttons that you will be using to monitor individual channels during the performance (normally via headphones in a live gig). If you were wondering about signal routing inside the mixer, there is a useful block diagram on page 34 of the manual, which is still available online here: mackie.com/sites/default/files/PRODUCT%20RESOURCES/MANUALS/Owners_Manuals/1604VLZ4_OM.pdf Hope that helps!

+FarewellOldFriends thx for your answer.. It's true the recorder ZOOM H4 is set too sensitive.. but I can't correct it :/ I have one idea yet - Maybe use the sub group ? For ex. press 1/2 sub for each channel and plug in JACK to SUB-OUT 1 and 2. Then I can control by Main 1/2. What do you think about it ? ( it's for live recording all the cover band )

+Damian Bartosiewicz Hi Damian - Looking at the H4 user manual, I see that the LINE IN on the recorder's combo jacks can only handle -10dBm max, which is fine for home hi-fi line levels, but the Mackie (and any other pro mixer) will give a lot more than that from its TAPE OUT, so I see your problem. You could send all the channels to SUB1/2 as well as MAIN L/R, and you will get the same mix as the main L/R on the SUB. You can set the SUB1/2 fader down to (say) -20dBm and all should be well. BUT, if you are using external effects (reverb etc.), they will not be sent to the SUB output. This may or may not be a problem, depending on how you are using the mixer. In my view, the best solution would be to make up a simple passive volume control (put a 47k log stereo potentiometer in a small plastic box with phono sockets), and use this between the TAPE OUT and Zoom LINE IN. You (or a technical friend, if you don't like soldering) could make that up for less than 10 Euro (not the 'audiophile' ones sold at silly prices on the Internet!). This would allow you to use the TAPE OUT without distortion, and keep all effects etc. in place. That sort of device is always useful to have in your gig bag! Good luck!

+FarewellOldFriends Thank You very very much!! I know everything. You helped me a lot! I'm using reverb and it will be a big problem.. So I have to use passive volume control.. :) Regards!!

Maxwell JOJO Melicor Hi - I'm sure others will be able to provide a more comprehensive response, as I've generally used it for recording, not PA, but here goes: I've seen and heard this model of mixer being used very successfully in a folk/acoustic PA setup, but my main concern in your application (i.e. with drums) would be that as there are no limiters or compressors on this desk (it's a very simple 'old-skool' analogue design with no inboard effects), you could run the risk of accidentally sending a really hot mix to your Mackie Thump speakers. I've not used these particular powered speakers, but I notice from reading their promo material that they have built-in compression/protection circuitry. While this would protect your speaker cones, you would run the risk of heavy kick drum thumps (!) modulating the vocal signals. It can make setting-up easier if you use the sub outputs to create separate internal balances for the drum kit and vocal ensemble, and then balance them with respect to each other with the sub out faders routed to the main outs. Unfortunately, there are no insert points on the subs, otherwise you could have patched a stereo limiter into the drum sub mix. Given the risk of the kick drum 'pumping' the vocals, you might leave the kick out of the sub mixes and have it as a separate feed direct to the main outs, so you can change its level in isolation. Make sure your channel strip masking tape is marked clearly, so anyone can find the right channel in a hurry if it all goes wrong! You may also need an external hardware reverb unit to enhance the vocals. Time to experiment, I think - good luck!

FarewellOldFriends Thanks so much for the very quick reply. I'm not sure I fully understand what you're saying being a neophyte but I didn't want to discuss it here so as not to bother others. I was wondering if I can e-mail you instead. At any rate, I appreciate your advise & posting this review.

Maxwell JOJO Melicor Feel free to message me directly via the Send Message button on the About tab for this channel.

@@FarewellOldFriends Hola

+Betsy Ballard Assuming you are describing a Bose L1 system, have a look at the user's manual, available here: www.bose.com/content/dam/Bose_DAM/Web/consumer_electronics/global/products/speakers/l1_compact_system/pdf/l1_compact_PDF_ownersguide_EN.pdf Page 10 shows the use of a small mixer with its line output(s) connected to the INPUT 2 socket(s) of the amplifier(s) - mono or stereo depending on whether you have one or two Bose amps. Also have a look at some of the review comments by users on the Bose product page: www.bose.com/en_us/products/speakers/portable_pa_speakers/l1-compact-system.html#v=l1_compact_black Hope that helps!

I used a Nady UIC-83PR. This allowed me to use a USB connection to my computer and back into the mixer with the RCA and Phono plugs. It works great and I can use Audacity to record and play back to the mixer.

No this is a total analog mixer

This is just a mixer - no PC interface - and with 16 channels, it's a bit over-the top for mixing a podcast - unless you have a round-table discussion with lots of people all mic'd separately! Probably better to get a modern multichannel (as many channels as you need) computer interface. A lot of people doing solo, talk-only podcasts just use a small solid-state field recorder. If your podcast is a music show with you as DJ, or you need to spin in external recordings / interviews etc., a small mixer with mic compression and a couple of stereo line inputs and a built-in USB PC interface - like the Behringer Q802USB - would seem like a suitably cheap and cheerful solution. You could start with looking at the many videos out there describing podcasters' equipment setups.

Hi - it's at 16:15 - There are conventional (i.e. post-fader) direct outs only from the first 8 channels. There are lots of ways to use this, for example: a) In a hardware 8-track tape based studio: send the direct outs from channels 1-8 to the tape recorder Line Inputs, and bring the recorder's Line Outputs back to the Line Inputs of channels 9-16. In this arrangement, you can adjust the levels going to tape using the channel faders and the channel gain trim controls. b) In a hardware 16-track tape-based studio, you can use the Channel Insert points (all channels have one). Route the Insert connector's Tip (SEND) to the recorder's Line Input, and route the recorder's Line Output back to the Ring (RETURN). You would then use the recorder's INPUT/TAPE monitor selection to switch between record and playback signals. The drawback is that level to tape is determined only by the channel gain trim controls, as the Channel Insert SEND is pre-fader. c) If you just need pre-fade direct outs from all channels, and don't need to return the signals (say, for an independent PA or monitor mix), you can use the Channel Insert points via stereo jack adaptors with their Tip and Ring shorted (sending the SEND immediately back to RETURN). The Tip/Ring signal can then be tapped off as a pre-fade direct out, while leaving the main mixer unaffected. Hope that helps!

Super helpful. Thanks a lot. I'm def. getting one!

Hi Cody, I have been to small gigs several years ago where this has been used as the live mixer, but... Only Aux 1 and 2 can be used as pre-fade outputs, so that only gives 2 independent monitor mixes, not the 4 that you need. Aux outs 3-6 are all fixed pre-fade, which you will need for external effects, as there are no inbuilt effects. This mixer reflects an old-school approach, and is probably best left as a museum piece. If you need a live mixer, I think you should look at more modern options. This need not be expensive - I have a Behringer XR-18 which is great for small gigs - small, light, extensive effects on-board, loads of independent outputs for monitors, PC/Android/iOS remote control, and an independent USB recording output.

yeah i currently have a SoundCraft MFXi, 12 ins 2 auxs and lexicon effects! i just happened to see one of these at a great price locally and it got me thinking the max capability! you have confirmed my doubts and i thank you very much for the fast response !

Cody Wallis You're welcome - sounds like you'd be no better off than you are at present!

i currently am hah! so far i dont have much use of the on board effects as i am using my submix more often then not. having the extra 4 channels will be a life savour in the long run though!

You can use this live. I run sound on this same board at a local venue.

+ZIKKBOY Not sure what you're trying to do from your description, but: If you are creating a mix with this mixer and feeding it into a PA system via the MAIN L & R outs, you could try feeding your subwoofer from the MONO OUT output, which simply combines MAIN L and MAIN R outputs together. You would have to have a low-pass filter in your sub-woofer amplifier. Otherwise, you would need an active crossover unit between the MAIN L & R outs and your L/R/Sub amplifiers. Look at the Block Diagram on Page 30 of the User Manual - that will help you understand where the signals go. HTH

FarewellOldFriends Thank u soo much (Y) Great Channel btw check out a whole bunch of em last night :D

No, there isn't - you need external effects.

FarewellOldFriends how do you set up the external effects?

@@joseortiz5116 There are 6 Auxiliary sends, 4 fixed post-fade and 2 switchable pre/post-fade. These can be sent to external effects and brought back on 4 stereo auxiliary returns. This is a conventional arrangement for analogue mixers like this. The send and return controls are covered in the video; for full details and diagrams, you can pull down the User Manual from Mackie if you need to use this particular mixer. What is your application?

Case probably worth E50, EQ, say E70 - that leaves E280 for mixer. Mackie is solidly built, and compact, but no internal FX (reverb, delay etc.) and no dynamics (compressor / gate) on each channel. Compare with Behringer EURODESK SX2442FX + Thon Case (E422 + E153 from Thomann) - has FX and a simple 9-band graphic EQ built in, but bigger, and still no dynamics on each channel.

FarewellOldFriends If I need a mixer with internal effects, i wouldn't use a mackie console. For this case i habe my Soundcraft SI Compact C24 ;) I would need it for very low budget jobs ;)

Google the user manual for your particular Mackie mixer model, and download it - they are all readily available. Mackie are very good at explaining how to connect external effects units, or, if the mixer has inbuilt effects, how to use them.

tjradmila route your effects through your aux channels in/out

Thankyou!

you will have to buy an audio interface for that

Probably best to ask your friendly neighbourhood sound tech to take you through the operation of this mixer on a one-to-one basis. It's quite a tactile console, and control positions are not hard to learn. Good luck!

Hi Robert - In this configuration, all the connectors are on the rear panel, including the balanced TRS jack sockets carrying the main Line Out signal, which goes to the power amplifier. I do not show the panel in this video, as it is just a series of channel checks - please see my Overview video for views and description of the rear connector panel. The User Manual is also readily available on line - just google for it. Cheers!

If you mean stage monitors, then yes; powered stage monitors can be fed with independent mono monitor mixes from the AUX 1 & 2 sends, if set to Pre-Fade at the individual channels, see Stereo PA diagram on Page 7 of the Owner's Manual (available online as a PDF download from multiple sources).

This is a simple analogue mixer. It has no internal recording facilities. To record you will have to connect it to an external recorder or PC sound card. The user manual, which is widely available on line, has excellent hookup diagrams for PA and recording configurations.

You would have to say what model mixer you have. As the mixer shown in this video is completely analogue, it cannot affect the pitch or speed of the sound. If you have a mixer with a digital audio interface, are you recording at one sample rate and playing back at another?

@@FarewellOldFriends my mixer is mackie vlz1604

Google 'Mackie1604VLZ user manual' - it's available from many sites, e.g. manualslib.com

Jeremy Cocks Hi - not quite sure what you're trying to do with the mixer. There are loads of tutorials here on RU-vid showing how to connect simple analogue mixers like this to a DAW. Just search for "connect mixer to DAW". But if you're recording from a line source like a synth, then why not go straight into your DAW audio interface and do all the VST effects and mix in the computer? If you're playing live, you could send to the DAW via an aux send and bring the DAW FX back through a channel or aux return. The concern there would be the latency (i.e. delay) of the effects within the computer (assuming you can use the DAW in a 'live' monitoring mode), which could make playing live impractical.

Daniel - this is an old-fashioned analogue mixer with no digital computer interface.

Ahh Okay, thanks!

You can connect to an audio interface by connecting your interface analog inputs to the inserts and then bus whatever you have coming through the channel into the DAW and return what you're recording in the DAW back to the tape returns on the mixer to listen back. Either way, you need to way to send analog out and bring it back in. Million ways to do it, but you need an interface.

Eric Pederson Hi Eric. I've got a stereo pair coming out of my soundcard to the mixer with the left side going into channel 1 and the right side going into channel 2 but for some reason there is audio bleed between the two channels and the panning information from my computer doesn't come through the speakers. Do you know what I can do to fix this? Can I buss those two channels to another single channel on the mixer? Or is there a better way of setting up my soundcard/mixer? I've had stereo ins on previous mixers so never had this issue. 2 come out of the soundcard and 2 go into one channel on the mixer. Cheers

Budapest Resistance Movement When you say "sound card" do you mean an actual computer sound card or an audio interface? I'm in the U.S. and they mean two different things, so that's why I ask. Also, so you're coming directly out of the "sound card" on the computer and going straight into the mixer? Are you using a DAW (Pro Tools, Cubase, Logic, etc...).