Mackie 1642-VLZ PRO Manuel du propriétaire télécharger pdf (Page 12)

DIRECT OUT (on rear panel)

Found only on channels 1–8, these

" jacks

deliver the signal from the very end of the

channel path; post-

TRIM

, post-

LOW

CUT

, post-fader and post-

MUTE

. You can use

these for recording, making the 1642-VLZ

PRO

perfect for an 8-track studio.

RECORDING

When recording, you use the first two chan-

nels for your sound sources: vocal mics, drum

mics, keyboard/synth outputs, guitar effects

outputs, that sort of thing. From there, the

channels manipulate the sound, but are not as-

signed to the output section. Instead, they’re

patched from the channel’s

DIRECT OUT

jacks

to any of your 8 multitrack inputs. This allows

recording of two tracks at a time. By recon-

necting the Direct Outs to the different tape

inputs, you can record to all of the 8 tracks.

Once the tracking is completed, the outputs

of the multitrack are then patched to channels

3-12

LINE

inputs on the 1642-VLZ

PRO (multi-

track out 1 to

LINE

input 3, 2 to 4, 3 to 5, etc.).

Aha! That’s why it says “

TRACK 1

” next to chan-

nel 3’s fader, “

TRACK 2

” next to channel 4, and

so forth. These channels (3–12) will be as-

signed to the mixer’s output section, delivering

the signals to their ultimate destination, which

may be your mixdown 2-track, your control

room system, or your headphones.

But let’s not forget that the 1642-VLZ

PRO is

a 4-bus mixer. These buses lead to the

SUB

OUTS

, and are designed to accomplish the

task of getting channels to the multitrack with-

out using the direct outputs.

For example, a channel is assigned to

SUB OUT 1

’s output is patched to

multitrack input 1. From there, the multitrack

output goes to the mixer’s channel 3

LINE

input,

as we just discussed. (Hot tip: To feed an 8-

track deck with 4 sub outputs, the 1642-VLZ

PRO has double busing, which simply means

that bus 1 feeds

SUB OUT 1

and

SUB OUT 5

bus 2 feeds

SUB OUT 2

and

SUB OUT 6

, bus 3

feeds

SUB OUT 3

and

SUB OUT 7

, and bus 4

feeds

SUB OUT 4

and

SUB OUT 8

. Patch the 8

SUB OUT

s to the inputs of the 8-track deck.

Tracks in record mode will accept the signal,

and tracks in safe mode will ignore the signal.)

The advantages: You can assign any channel

to any track, without repatching. You can as-

sign multiple channels to one track and control

the overall level of that su/jointfilesconvert/312401/bgroup

. You can’t

bounce tracks without this feature.

By returning the outputs of the effects pro-

cessors to 13/14 (EFX A) and 15/16 (EFX B),

you can choose to record or Monitor with ef-

fects.

Perhaps the best recording method is a

combination of both approaches: Use the

SUB

OUTS

to feed multichannel submixes (like a

drum kit) to some of the tracks, and the

DIRECT OUT

jacks to feed single-channel sig-

nals (like bass guitar) to the other tracks.

The point is that you never listen directly to

the source channels. You listen to the monitor

channels (3–12) and they’re listening to the mul-

titrack that is listening to the source channels.

The main advantage is that you won’t be forced to

constantly repatch your multitrack — just set it

up and forget it. You’ll also know for certain that

the signals are indeed getting to the multitrack,

since you’re constantly listening to it.

Another method of interfacing a multitrack is

called inline monitoring, and requires a mixing

console dedicated to that, like the Mackie

8•Bus. Each of its channels is actually two chan-

nels: one carrying the mic/line sound source and

the other carrying the multitrack output.

AUX SEND OUTPUTS

These

" jacks usually patch to the inputs

of your parallel effects devices

or to the in-

puts of your stage monitor amps. To learn how

signals are routed to these outputs, see the Aux

discussion on page 25.

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Mackie 1642-VLZ PRO Manuel du propriétaire Page 12

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