Mackie CR1604 VLZ

As Mackie's new 1402VLZ goes a long way to bridging the gap between their original 1202 and 1604, it comes as no surprise that the new 1604VLZ has evolved a whole new range of features. Paul White checks out the update of this steel‑clad classic...

Mackie's original 1604 (reviewed way back in SOS December '91) put the company squarely on the map as a serious mixer manufacturer, but since then their range has expanded considerably, with the new 1604VLZ occupying pride of place at the top of the 'small but cute' general‑purpose mixer range. The 1604VLZ retains the trademark Mackie sheet steel casing, as well as the original 1604's ability to convert the mixer from table‑top to rackmount mode, by adding rack ears and reorientating the rear‑panel connector pod, so that the connectors appear on the top panel rather than on the back. This seemingly complex feat takes only a few minutes and requires nothing more than a Philips screwdriver.

Across The Channel(S)

The 1604VLZ is still very much a general‑purpose mixer, with 16 mono mic/line channels and four stereo effects returns, but unlike its VLZ‑less forebear, the VLZ version now has true 4‑buss routing in addition to L‑R routing. Faders are used to control the channel gains, the four buss output levels and the main stereo output. Each channel sports a switchable 75Hz, 18dB/octave, low‑cut filter, as well as a TRS jack insert point.

Like a full‑size console, each channel kicks off with a gain Trim control. The Solo system offers both AFL and PFL modes, so you can use the meters in PFL mode to set up the trims properly. The 3‑band EQ has a swept mid‑range control, but no bypass button. The high control operates at 12kHz, while the low control comes in at 80Hz, and I'm pleased to see that the mid sweep range goes from 8kHz right down to 100Hz, which means you really can use it to get to grips with bass EQ problems. There are four aux sends per channel, and sends 3 and 4 can be switched as a pair to aux busses 5 and 6, which makes this a very flexible mixer for serious music production work. What's more, both Aux 1 and 2 may be switched, as a pair, to pre‑ or post‑fade operation. The second pair of sends are dedicated post‑fade effects sends.

Routing is achieved via three buttons: 1‑2, 3‑4 and L‑R, with the Pan control being used to move the signal between odd‑ and even‑numbered busses. Green signal LEDs come on when the channel signals exceed the ‑20dB level, and red overload LEDs warn of impending clipping. When a Solo button is pressed, the Signal LED stays illuminated, and when a channel is muted, the red Overload LED stays on. When one or more channels are solo'd, they're heard in isolation over the Control Room/Phones output, and their levels are shown on the meters.

Master Controls

Considering that this is a compact mixer, it has a very grown‑up master section with just about every facility you'd expect on a mixing board, apart from talkback. It even has a BNC socket for a gooseneck lamp. Aux send output level controls are provided for sends 1 and 2 only; the rest go directly to the outside world, so you have to use the input gain on your effects units if you want to boost the signal, though that shouldn't present a problem. All four stereo aux returns have gain controls, and whatever effect signal is coming in on Return 1 can be fed to Aux Send 1, making it possible to add effects to foldback in live or recording applications. Similarly, a second control allows Aux Return 2 to be fed into the Aux 2 send. Note that although the send and return numbers correspond, you wouldn't generally use them that way. When recording or setting up a PA, Aux 1 and 2 would generally be used for foldback, and the effects would be connected to sends 3 to 6.

Aux Return 4 may be routed to the main mix or to either of the Group pairs (which Mackie call Subs), while the fourth return may be routed into the control room/phones feed only if required, which makes it easy to add 'comfort' reverb to the headphone mix if you're recording in the same room as your mixer. A single Solo button allows all the returns to be solo'd together, and sends 1 and 2 also have their own Solo buttons.

Faders are provided for the Main Mix and Group levels. Each Group may be assigned to the stereo buss using separate Left and Right buttons (used in combination for left, right or centre panning) and the headphone output follows the control room output, the level of which is controlled by a knob. The control room feed can be taken from either an external 2‑track tape machine, Groups 1‑2, Groups 3‑4 or the main stereo mix. The tape input has its own level control, and phono connectors are fitted to provide tape in and out connections. A further button routes the tape return into the main mix, which means the tape return can be used as yet another stereo line input, bringing the total of simultaneously mixable sources up to 26.

Two 12‑section, LED bargraph meters follow the control room source selection, though if you press any Solo buttons, these signals take priority on the meters. There is sufficient headroom for ‑10dBV and +4dBu operation, and like the other Mackie VLZ mixers we've looked at, the meter scale is such that 0VU = 0dBu rather than +4dBu (or ‑10dBV, if that's the level your mixer works at). Personally, I like this honest approach, because you know what your true output signal levels really are at all times.

The Solo mode may be switched from AFL to PFL, and a separate Solo level control means you can solo a channel without being deafened. A bright green Solo master LED flashes whenever a channel is solo'd. Why this is green when it is red on all the other Mackie mixers I've tried is one of life's little mysteries...

Opinions

The more you look at the CR1604VLZ, the more you realise what a super little desk it is. It has more than enough facilities to be used as an 8‑track recording console, and the signal path is clean enough to do justice to the modern generation of digital multitrackers. What's more, you could rack up one of these mixers with an Alesis ADAT or Tascam DA88 and have a brilliant, portable live recording setup in one flightcase. Even though there are only four Group outs, you can take direct outputs from the insert points just by plugging in an unbalanced jack lead. See the 'Socket Set' box on connections for more details.

Though some of the controls get pretty close to being cramped (especially the buttons between the faders), there's very little to criticise about this mixer — about the only thing I really miss is not having EQ bypass buttons. However, you do get low‑cut filters, and unlike those fitted to some desks, these really work, and seem to come in at exactly the right frequency.

The EQ is extremely positive yet very musical, adding a lovely sizzle at the top end, and a warm punch at the bottom. As you'd expect from a well‑designed modern mixer, the noise floor is extremely low, and the '60kHz plus' frequency response helps maintain clarity at high frequencies and on transients. On balance, this is a very worthy successor to the original 1604, and incorporates significant advances.