Mackie 1604-VLZ Pro Specifications - Page 2

Specifications Mic Preamp Equivalent Input Noise (20Hz-20kHz): 150Ω 50Ω 0Ω -129.5dBu -131.0dBu -134.5dBu Frequency Response: -1dB -3dB 5Hz-100kHz 3Hz-192kHz IM Distortion (4:1 SMPTE),35dB gain 0.0008% Harmonic Distortion (20Hz-20kHz), 35dB gain 0.0007% Gain: Max Min +60dB 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: Main Mix fader @ unity, ch. faders @ unity: -90.5dB -88.0dB Total Harmonic Distortion (THD)2 0.005% Attenuation (Crosstalk)3 Channel Mute switch engaged: Channel Fader down: -84dBu -84dBu Frequency Response4 20Hz to 60kHz: 20Hz to 100kHz: +0dB/-1dB +0dB/-3dB Other Maximum Levels All other inputs: Main Mix 1⁄4" TRS outputs: All other outputs: +22dBu +28dBu +22dBu Other Impedances Channel Insert return: All other inputs: Tape out: All other outputs: 2.5kΩ > 10kΩ 1.1kΩ 120Ω EQ High Shelving: Mid Peaking: Low Shelving: Low Cut Filter: ±15db @ 12kHz ±15dB, sweep 100Hz-8kHz ±15db @ 80Hz 18dB/octave, -3dB @ 75Hz Power Consumption 120VA.C., 50/60Hz, 50 watts Physical Dimensions Weight see drawings on page 4 & 5 20 lbs. (9.1kg) 2 at regular intervals to mount thick fiberglass circuit boards inside the mixer. Radio frequency interference from TV/radio stations and cellular phone users is virtually eliminated, thanks to Mackie's new XDR mic preamp design. The mixer's built-in power supply is beefy enough to handle major power consumption without breaking up. And there's no bulky "wall wart" to be kicked out of place or to cover up extra outlets. All of this adds up to an extremely durable mixer that can withstand major use and misuse. Multi-user applications like churches, night clubs, A/V rooms and schools are perfect homes for the 1604-VLZ PRO. Sixteen XDR mic preamps deliver the finest quality sound ever offered in a compact mixer. They cannot be damaged by hot patching. And they are impedance-independent: frequency response remains the same whether the mic preamp is presented with an extremely high or low-impedance load. Additionally, each channel has its own switchable low cut filter (18dB/octave @ 75Hz), so mic thumps, room rumble and stage mishaps are left out of the mix without diminishing the audible bass frequency range. Four buses add mixing flexibility. Channels can be assigned to buses 1-2, 3-4 and/or Main Mix L/R, and the 4 subs can be assigned to left and/or right main mix. A Control Room/ Phones source matrix lets you route any combination of tape, subs 1-2, 3-4, main mix or Aux Return 4 to headphones, control room outputs, and meters. This enables you to monitor 2-track tape output or route a click/cue track to phones, create special phones or broadcast mixes via the subs, or create an extra stereo mix (with its own gain control) for another zone, like Specifications footnotes: 1) 20Hz-20kHz bandwidth, 1/4" Main out, Channel Trims @ unity gain, channel EQs flat, all channels assigned to Main Mix, odd channels Pan left, even channels Pan right. Reference +4dBu. 2) 1kHz @ +14dBu, 20Hz-20kHz. 3) 1kHz relative to 0dBu, 20Hz-20kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity. 4) Any input to any output.