Features:

• 16-Channel mixer featuring high-headroom, low-noise design
• 10 Boutique-Quality Onyx Microphone Preamps:

-Wide 60 dB gain range

-128.5 dB dynamic range

-+22 dBu line input handling

-Extended frequency response

-Distortion under 0.0007% (20 Hz to 50 kHz)

• Improved RF rejection, suitable for broadcast applications
• Phantom power for condenser microphones
• 16 High-headroom line inputs with +4 / -10 operation control
• 3-Band EQ (80 Hz, 2.5 and 12 kHz)
• 18 dB/octave 75 Hz low-cut filter on microphone inputchannels
• Four AUX sends, level, pan and PFL solo on each channel
• Four stereo returns for connecting FX processor or otherstereo source
• 60mm long-wearing log-taper faders
• ALT 3/4 stereo bus for added routing flexibility
• Control room / phones source matrix
• High-resolution 12-segment stereo meters
• Sealed rotary controls resist dust and grime
• Built-like-a-tank rugged steel chassis with powder-coatfinish
• High-visibility, high-contrast controls deliver convenientat-a-glance visual feedback
• Rack-mountable design using optional rack ear kit (soldseparately)
• Multi-voltage power supply for worldwide use

Applications: Live sound mixing, houses of worship, clubs,gymnasiums, banquet halls, conference rooms, boardrooms, multi-track studio andfield recording, video post-production, multimedia applications, broadcast, andmany more

Patchbay Features:

1.) MIC INS - This is a female XLR connector that  accepts a balanced mic or line level input from almost any type of source.

2.) LINE INS  - These 1/4" jack circuitry with the mic preamps and can be driven by balanced or unbalanced sources at almost any level.

3.) GAIN  - This controls are not in the patchbay,but they are the top row knobs in the channel strip section.

4.) INSERT - These unbalanced 1/4" jacks are for connecting serial effects processors such as compressor,equalizers.

5.) DIRECT OUTS - These balanced 1/4" jacks deliver the signal from the very end of the channel path;

6.) AUX SEND OUTS   - These 1/4" jacks usually patch to the inputs of a parallel effects devices or to the inputs of stage monitor amps.

7.) STEREO RETURNS  - This is where to connect the outputs of parallel effects devices.

8.) SUB OUTS - These four 1/4" jacks are usually patched to the inputs of a multitrack deck or to secondary amplifiers in a complex installation.

9.) CR OUTS - These 1/4" jacks are usually patched to the inputs of a control room amplifier or a headphone distribution amplifier.

10.) PHONES OUT - The 1642VLZ4's stereo 1/4" phones jack will drive any standard headphone to very loud levels.

11.) TAPE OUT - These  unbalanced RCA jacks tap the main mix outputs to make simultaneous recording and PA work more convenient.

12.) TAPE IN  - These unbalanced RCA jacks are designed to work with semipro as well as pro recorders

13.) MAIN INSERT - These 1/4" jacks are for connecting serial effects such as compressors,equalizers,de-essers or filters.

14.) MAIN OUTS -Two sets of jacks are provided for the main outputs:1/4" TRS jacks and XLR jacks.

15.) MONO OUT -The forces that govern your world will demand a monaural output from your painstakingly-created stereo panorama.

16.) MONO LEVEL -Sending mono signals to mic inputs like camcorders,telephone interface boxes,even answering machines.

17.) VOLTAGE SELECTOR  - Make sure that this slide switch is set to the same voltage as the local AC mains supply.

18.) POWER CONNECTION - Its power jack accepts a standard 3-prong IEC cord like those found on most professional recorders.

19.)FUSE - The 1642VLZ4 is fused for your protection.

20.) POWER SWITCH  - Press the top of this rocker switch inwards to turn on the mixer.

21.) POWER LED  - This LED located in the output section.

22.) PHANTOM SWITCH  - This switch controls the phantom supply for all the mic inputs.

23.) 48V LED - This  is just to let you know which way you have the phantom switch set.

24.) BNC LAMP SOCKET - Located  in the top right corner of the output section,this 12V socket will drive any standard BNC-type lamp

25.)CHANNEL FADER  - is almost the last control in a channel's signal path.

26.) ASSIGN - Alongside each channel fader are four buttons,labeled solo,1-2,3-4 and L/R.

27.) SOLO -This lovable switch allows you to check signals in the phones or control room without having to assign them to the L/R,1-2, or 3-4 mixes.

28.)-20 LED -An LED that does two completely different things,this saves space,but requires some explanation.

29.) OL LED - Another LED that does two different things.

30.) MUTE  - Engaging this switch provides the same results as turning the channel;s fader all the way down.

31.)PAN - Pan adjusts the amount of channel signal sent to the left versus the right outputs.

32.) 3-BAND MID-SWEEP EQ - The eight mono channels have a 3-band,mid-sweep equalization:low shelving at 80 Hz,mid sweep peaking from 100 Hz to 8 kHz, and his shelving at 12 kHz.

33.) 4-BAND FIXED-FREQUENCY EQ  - The stereo channels have a 4-band fixed frequency equalization

34.)LOW CUT - The low cut switch often referred to as a high pass filter,cuts bass frequencies below 75Hz at a rate of 18dB per octave.

35) AUX 1,2,3 & 4 - These four knobs tap a portion of each channel's signal,mix them together and send them to the aux send outputs.

36.) PRE  - This switch determines the tap point of aux 1 and 2.

37.) MAIN MIX FADER - This fader controls the levels of signals sent to the main out jacks and tape output RCA jacks.

38.) SUBGROUP FADERS - These faders control the levels of signals sent to the sub out jacks.

39.) ASSIGN TO MAIN MIX  - One popular use of the subgroups is to use them as master faders for a group of channels on their way to the main mix.

40.)TAPE IN (LEVEL) - This knob controls the level of the stereo signal coming from the tape input RCA jacks.

41.) TAPE TO LR -Engaging this switch is just like engaging the L-R switch on a channel--the signal,stereo in this case is sent to the main mix.

42.) SOURCE -The engineer sends the main mix to a live audience or to a mixdown deck.

43.) CONTROL ROOM AND PHONES -These knobs control the level of the stereo CR outs and phones outputs.

44.) MODE (AFL/PFL) - The 1642VLZ4's solo system comes in two flavors: AFL and PFL

45.) LEVEL SET LED - When the mode switch is engaged,its in PFL mode,the mode you must be in to set levels.

46.) SOLO(LEVEL)  -This knob controls the level of the signals coming from the solo system

47.) RUDE SOLO LIGHT - This flashing LED serves two purposes - to remind you that you're in solo and to let you know that you're mixing on a 1642VLZ4.

48.) METERS - The 1642VLZ4's peak metering system is made up of two columns of twelve LED's.

49.) AUX SENDS (MASTER) - These knobs provide overall level control of aux sends 1 and 2 ,just before they're delivered to their aux send outputs.

50.) AUX SENDS SOLO AND LED - In live sound situations aux send 1 and 2 are likely to feed your stage monitors.

51.) STEREO RETURNS - These four controls set the overall level of effects received from the stereo return input jacks.

52.) TO AUX 1 AND TO AUX 2 - If you want to add reverb or delay to the stage monitor mixes,these are the knobs for you.

53.) MAIN MIX TO SUBS (STEREO RETURN 3)   - With this switch up,stereo return 3 behaves like all the others--it delivers a stereo signal regulated by its level knob.

54.) 1-2/3-4(STEREO RETURN 3) - If the main mix to subs switch is disengaged this switch does absolutely nothing.

55.) CR/PH ONLY (STEREO RETURN 4)  - The default for all the stereo returns is to feed them directly into the main mix.

56.) RETURNS SOLO AND LED - This switch operates just like the channel solo switches--engaging it sends signals to the control room,headphones and meter display.