Mackie 1642-VLZ PRO Manuel du propriétaire télécharger pdf (Page 25)

METERS

The 1642-VLZ PRO’s peak metering system is

made up of two columns of twelve LEDs. Decep-

tively simple, considering the multitude of signals

that can be monitored by it. If nothing is selected

in the

SOURCE

matrix and no channels are in

SOLO

, the meter display will just sit there. To

put them to work, you must make a selection in

the

SOURCE

matrix (or engage a

SOLO

switch).

Why? You want the meter display to reflect

what the engineer is listening to, and the engi-

neer is listening either to the

C-R OUTS

or the

PHONES

output. The only difference is that

while the listening levels are controlled by the

CTL ROOM

and

PHONES

knobs, the meter

display reads the

SOURCE

mix before the con-

trols, giving you the real facts at all times, even

if you’re not listening at all.

When the solo

MODE

switch is set to

LEVEL

SET (PFL)

(down) , all soloed signals will be

sent to the left meter only. That, combined

with

LEVEL SET

LED , are along the path of

enlightenment known as the

Level-Setting

Procedure

. During

NORMAL (AFL)

mode,

the meters will behave normally.

Meters vs. Reality

You may already be an

expert at the world of “+4”

(+4dBu=1.23V) and “–10”

(–10dBV=0.32V) operating

levels. Basically, what makes a mixer one or

the other is the relative 0dB VU (or 0VU) cho-

sen for the meter

display. A “+4” mixer, with a

+4dBu signal pouring out the back will actu-

ally read 0VU on its meter

display. A “–10”

mixer, with a –10dBV signal trickling out, will

read, you guessed it, 0VU on its meter

display.

So when is 0VU actually 0dBu? Right now!

At the risk of creating another standard,

Mackie’s compact mixers address the need of

both crowds by calling things as they are: 0dBu

(0.775V) at the output shows as 0VU on the

meter

display. What could be easier? By the

way, the most wonderful thing about standards

is that there are so many to choose from.

Thanks to the 1642-VLZ PRO’s wide dy-

namic range, you can get a good mix with

peaks flashing anywhere between –20 and

+10dB on the

meter

display. Most amplifiers

clip at about +10dB, and some recorders aren’t

so forgiving either. For best real-world results,

try to keep your peaks between “0” and “+7.”

Please remember: Audio meter displays are

just tools to help assure you that your levels

are “in the ballpark.” You don’t have to stare at

them (unless you want to).

AUX DISCUSSION

First of all, there is no particular alliance

between

AUX SEND 1

and

AUX RETURN 1

They’re just numbers. They’re like two com-

plete strangers, both named Fred.

Sends are outputs, returns are inputs. The

AUX

knob taps the signal off the channel

and sends it to the

AUX SEND

outputs .

AUX 1

and

are sent to the

AUX SENDS 1

and

master knobs before the

AUX SEND

outputs and

AUX 3

through

are sent directly.

These outputs are fed to the inputs of a re-

verb or other device. From there, the outputs of

the external device are fed back to the mixer’s

AUX RETURN

inputs . Then these signals are

sent through the

AUX RETURN

level controls,

and finally delivered to the

MAIN MIX

So, the original “dry” signals come from the

channels to the

MAIN MIX

and the affected

“wet” signals come from the

AUX RETURNS

the

MAIN MIX

, and once mixed together, the

dry and wet signals combine to create a glori-

ous sound. Armed with this knowledge, let’s

visit the Auxiliary World:

AUX SENDS (MASTER)

These knobs provide overall level control of

AUX SENDS 1

and

, just before they’re delivered

to their

AUX SEND

outputs . This is perfect

for controlling the level of stage monitors, since

you’ll be using

AUX 1

and

for this, with their

PRE

switches engaged .

AUX

SENDS 3

through

have no such

control — they’ll just send their

mixes directly to their respective

AUX SEND

outputs at unity gain.

This knob goes from off (turned

fully down), to unity gain at the

center detent, with 10dB of extra

gain (turned fully up). As with

some other level controls, you may

never need the additional gain, but

if you ever do, you’ll be glad you

bought a Mackie.

This is usually the knob you

turn up when the lead singer

glares at you, points at his stage

monitor, and sticks his thumb in

the air. (It would follow suit that if

the singer stuck his thumb down,

you’d turn the knob down, but

that never happens.)

+20

+15

STEREO AUX RETURN

EFFECTS TO MONITORS

TO AUX

SEND 2

TO AUX

SEND 1

R / PHNS

ONLY

RETURNS

SOLO

MAIN MIX

TO SUBS

ASSIGN OPTIONS

–

+20

+10

AUX SEND

PWR

PHAN

SOLO

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 ... 20 21 22 23 24 25 26 27 28 29 30 ... 39 40

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Mackie 1642-VLZ PRO Manuel du propriétaire Page 25

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