Mackie 1642-VLZ PRO Manuel du propriétaire télécharger pdf (Page 23)

CONTROL ROOM AND PHONES

These knobs control the level of the stereo

C-R OUTS

and

PHONES

outputs . Each

control range is from off through unity gain at

the detent, with 10dB of extra gain (when

turned fully clockwise).

When

MAIN MIX

is your

SOURCE

selection,

those signals will now pass through two level

controls on the way to your control room amp

and headphones — the

MAIN MIX

fader and

the

CONTROL ROOM

and

PHONES

controls.

This way, you can send a nice healthy level to

the

MAIN OUT

jacks (

MAIN MIX

fader at

“

”), and a quieter level to the

C-R OUTS

PHONES

(

CONTROL ROOM

PHONES

knobs wherever you like).

Whatever your selection, you can also use the

C-R OUTS

for other applications. It can be used

as an additional main mix output and this one

will have its own level control. However, should

you do this, be aware that if you engage a

SOLO

switch , it will interrupt the mix, as we’ve al-

ready covered .

Once again, engaging a

SOLO

switch will

cause this dramatic turn of events: Any existing

SOURCE

matrix selections will be replaced by

the

SOLO

signals, appearing at the

C-R OUTS

PHONES

output and at the meter display. The

audible solo levels are controlled by the

SOLO

level knob. The

SOLO

levels appearing on the

meter display

are not controlled by anything

— you wouldn’t want that. You want to see the

actual channel level on the meter

display,

regardless of how loud you’re listening.

TAPE IN (LEVEL)

This knob controls the level of the stereo signal

coming from the

TAPE INPUT

RCA jacks. Its range

is off when fully down, unity at the center detent,

with 20dB additional gain turned fully up, which

may come in handy if you’ve patched in a

“walkperson” type device with wimpy output levels.

After the

TAPE IN

level is determined, the stereo

tape signal can be sent to either of two places —

the

MAIN MIX

or the

SOURCE

matrix .

TAPE TO MAIN MIX

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

. It

does not interrupt other signals, just adds itself

to them. This switch can be very handy in a

live sound situation when you want to play

soothing elevator music to an anxious crowd.

CR SOURCE

Typically, the engineer sends the main mix

to an audience (if live) or to a mixdown deck

(if recording). But what if the engineer needs

to hear something other than the main mix?

With the 1642-VLZ

PRO, the engineer has sev-

eral choices of what to listen to. This is one of

those tricky parts — have a double espresso

first.

Via the

SOURCE

switches, you can choose to

listen to any combination of

MAIN MIX

SUBS

1-2

SUBS 3-4

and

TAPE

. Selections made in the

SOURCE

matrix deliver stereo signals to the

C-R OUTS

PHONES

output and meter

display.

These signals are tapped after their respective

level controls — post-

MAIN MIX

fader, post

su/jointfilesconvert/312401/bgroup faders and post-

TAPE IN

knob. With

no switches engaged, there will be no signal at

these outputs and no meter indication, with two

exceptions

(SOLO

/ and

AUX RETURN 4

One of those exceptions is the

SOLO

func-

tion

/ . Regardless of the

SOURCE

matrix

selection, engaging a

SOLO

switch will replace

that selection with the

SOLO

signal, also sent

to the

C-R OUTS

PHONES

output and meter

display. This is what makes the

Level-Setting

Procedure

so easy to do.

Now you know how to select the signals you

want to send to the engineer’s control room

and/or phones. From there, these signals all pass

through two level controls:

SUBS 1

–

SUBS 3

–

MAIN MIX

CR SOURCE

TAPE

MAX

SOLO

RUDE SOLO LIGHT

LEVEL

SET

MODE

(AFL)

LEVEL SET

NORMAL

(PFL)

CONTROL ROOM

MAX

PHONES

0 dB= 0 dBu

LEFT RIGHT

+20

TAPE IN

TAPE TO

MAIN MIX

1 2 ... 18 19 20 21 22 23 24 25 26 27 28 ... 39 40

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Mackie 1642-VLZ PRO Manuel du propriétaire Page 23

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