Used Mackie 1604-VLZ3 16 Channel, 3-band EQ, Phantom Power, Pro Audio Mixer

While keeping the features and functionality of its predecessor, the Mackie 1604-VLZ3 offers even greater headroom than the original. Mackie could have stopped right then and there, but they're obsessed with perfection. So they redesigned the Mix Bus and made a few circuitry upgrades to the EQ, giving the 1604-VLZ3 a highly intuitive, more musical feel. Whether you need a live mixing board for club work, or a full-featured workhorse for home and studio recording, you owe it to yourself to check out the new Mackie 1604-VLZ3. You'll think it's perfect, too.

The 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, mackie 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.

High-quality equalization is a must for any good mixer, that's why Mackie didn't cut any corners when it came to the 3-band Active EQs and why they included them on every channel. Tremendous resources went into optimizing the center points of the channel EQ. As a result, they 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.