1604-VLZ3 MACKIE 16x4 Compact Mixer
Our new XDR2 (Extended Dynamic Range) second-generation mic preamps are better than ever. They offer incredibly low noise, with individual mic pre THD below 0.0007%, and overall mixer THD less than 0.0025%. With 60dB of available gain per channel, the 1604-VLZ3 can handle inputs ranging from a whisper to a scream, and can even handle hot line-level signals up to +22db, without any added coloration. You simply won't find preamps this good on any other mixer in this price range.
Don't let its size fool you. The Mackie 1604-VLZ3 mixer is packed with premium features on every channel; 75Hz Low-Cut filters, four Aux Sends, inserts, phantom power, constant-loudness Pan controls, OL (overload) and signal present LEDs, sub and main mix assign switches, and assignable AFL/PFL Solo switch. And since you can never have too many output options, we provided a Control Room/Phones source matrix, Master Aux section with EFX to Monitor, tape outputs, high-volume headphone amplifier, channels 1-8 direct outs, and balanced XLR and balanced/unbalanced TRS outputs.
THREE-BAND EQUALIZATION WITH SWEEPABLE MIDS
High-quality equalization is a must for any good mixer, that's why we didn't cut any corners when it came to our 3-band Active EQs-and why we include them on every channel. Tremendous resources went into optimizing the center points of the channel EQ. As a result, we put the Lows at 80Hz and the Highs at 12kHz. Midrange compensation is handled by a peaking control with a two-octave variable frequency center. This means the Mids can be swept from a low of 100Hz, all the way up to 8kHz-with a boost or cut of 15dB. This gives VLZ3 mixers practical, useful equalization, providing not only sonic enhancement and correction, but also the tone-shaping facility to actually improve the musical nature of the original signal.
With split monitoring, you can use the first eight channels for your sound sources: vocal mics, drum mics, etc. From there, the channels manipulate the sound, but are not assigned to the output section. Instead, they're patched from the channel's DIRECT OUT jacks to the corresponding multitrack input (DIRECT OUT 1 to multitrack input 1, 2 to 2, 3 to 3, etc.). The signals will now be recorded or passed directly through the multitrack, depending on each track's record-ready status.
The outputs of the multitrack are then patched to the next eight LINE inputs on the 1604-VLZ3 (multitrack out 1 to LINE input 9, 2 to 10, 3 to 11, etc.). Aha! That's why it says "TRACK 1" next to channel 9's fader, "TRACK 2" next to channel 10, and so forth. These channels (9-16) will be assigned to the mixer's output section, delivering the signals to their ultimate destination, which could be your mixdown 2-track, your control room system, or your headphones-making the 1604-VLZ3 a truly powerful 8-track recording console.
Equivalent Input Noise (20Hz-20kHz)
5Hz to 100kHz:
3Hz to 192kHz:
IM Distortion (4 to 1 ratio SMPTE)
Harmonic Distortion (20Hz-20kHz)
0dB or Unity
Common Mode Rejection
Common Mode Rejection Ratio
Main Mix Noise
20Hz-20kHz bandwidth, 1/4" Main out, Channel Trim @ unity gain, channel EQs flat, all channels assigned to Main Mix, odd channels Pan left, even channels Pan right, Reference +4dBu
Main Mix Fader @ unity, channel faders down:
Main Mix Fader @ unity, channel faders @ unity:
Total Harmonic Distortion (THD)
1kHz @ +14dBu, 20Hz-20kHz.
1kHz relative to 0dBu, 20Hz-20kHz bandwidth, Line in, 1/4" Main Out, Trim @ unity
Channel Mute switch engaged:
Channel Fader down: