Mackie 1642-VLZ PRO Manuel du propriétaire télécharger pdf (Page 18)

If you’re printing new tracks or bouncing ex-

isting ones, you’ll also use the

1–2

and

3–4

switches, but not the

L/R

switch. Here, you

don’t want the su/jointfilesconvert/312401/bgroups sent back into the

MAIN MIX

, but sent out, via the

SUB OUTS

jacks, to your multitrack inputs . However, if

you’re printing tracks via the

DIRECT OUT

jacks , all the channel assignment switches

should be disengaged (up).

The 1642-VLZ

PRO is what we call a “true

4-bus mixer.” Each channel can be assigned or

unassigned to any of the su/jointfilesconvert/312401/bgroups without af-

fecting the other su/jointfilesconvert/312401/bgroups or settings within

the channel, and each su/jointfilesconvert/312401/bgroup has its own

master fader

and dedicated output . In

fact, since there are 4 su/jointfilesconvert/312401/bgroups and the

MAIN

L/R MIX

, it’s actually a true 6-bus mixer. We

could have named it the 1662-VLZ PRO. Darn!

SOLO

This lovable switch allows you to check

signals through your

PHONES

output or

C-R

OUTS

without having to assign them to the

L/R

1-2

3-4

mixes. You can solo as many

channels as you like.

SOLO

does not interrupt

any of the other channels, buses or outputs —

that’s called nondestructive solo. Not only that,

via the

MODE

switch , the 1642-VLZ

PRO’s

solo system comes in two flavors:

NORMAL

(AFL)

(sometimes called SIP, or solo-in-place)

and

LEVEL SET (PFL)

(sometimes called PFL,

or pre-fader-listen).

During

NORMAL (AFL)

mode, the soloed

channel’s signal is sent directly to the

C-R OUTS

PHONES

output, and meter display just as it

would sound to the channel’s assignment

switches: post-

, post-fader and post-

PAN

The only difference is that

SOLO

works re-

gardless of the channel’s assignment positions,

and that makes it really handy — you can

check out a channel before you assign it.

NORMAL (AFL)

is the preferred mode during

mixdown: If the channel has some midrange

boost at 4.2kHz, is panned a smidgen to the

left, and its fader is at –5dB, that’s exactly

what you’ll hear if you

SOLO

during

NORMAL

(AFL)

mode. It’s just as if you took the time to

MUTE

all the other channels.

LEVEL SET (PFL)

solo is the key player in the

all-important

Level-Setting Procedure

. It’ll

send the channel’s actual internal levels to the

meters so you’ll know just what’s going on, level-

wise. This procedure should be performed every

time a new sound source is patched into a

channel’s

MIC

LINE

input jacks.

LEVEL SET (PFL)

is also the preferred mode

for SR (sound reinforcement, or live sound), to

preview channels before they are let into the

mix. It won’t give you stereo placement, but will

give you signal even if the fader is pulled down.

Remember,

LEVEL SET (PFL)

taps the chan-

nel signal before the fader. If you have a

channel’s fader set way below “

” (unity gain),

SOLO

won’t know that and will send a unity

gain signal to the

C-R OUTS

PHONES

output

and meter display. That may result in a startling

level boost at these outputs, depending on the

position of the

SOLO

level knob .

In a nutshell, soloed channels are sent to

the

SOURCE

mix , that ultimately feeds your

C-R OUTS

PHONES

output and meter display.

Whenever

SOLO

is engaged, all

SOURCE

se-

lections (

MAIN MIX

1–2

3–4

and

TAPE

) are

defeated, to allow the soloed channel to do just

that —

SOLO

–20 (SOLO) LED

An LED that does two completely different

things! Saves space, but requires some expla-

nation. First, the “

–20

” part: Often referred to

as “signal activity,” this LED will flicker in time

with the signal present in that channel. It’s

handy for confirming that a channel is indeed

active, and may also lend a clue as to what the

signal is. For instance, a kick drum will cause

the LED to pulse in time with the drum, and a

synth pad will cause it glow a bit more steadily.

Now for the “

SOLO

” part. When a channel’s

SOLO

switch is engaged, this LED will glow

steadily, without flickering. It will also be

brighter than it would be as a

–20

indicator. In

conjunction with the

RUDE SOLO LIGHT

you can find a rogue

SOLO

switch very quickly.

OL (MUTE) LED

Another LED that does two completely differ-

ent things! First, the “

” part: “

” means

overload, or clip. You don’t want that to happen.

Ever. Clipping can happen to any mixer — it’s

the point where the signal’s voltage exceeds the

supply voltages that power the circuitry. The

1642-VLZ

PRO’s

LED will come on just be-

fore clipping, so if you see it, take immediate

action: Perform the

Level-Setting Procedure

If that doesn’t help, check for excessive use of

boost or

fader

gain. Like the

–20

LED, it will

tend to flicker in time with that channel’s signal.

Now for the “

MUTE

” part. Assuming your

levels are set correctly, the

LED will never

come on as a result of clipping. That’s pretty

MUTE

TRIM

LOW CUT

75 Hz

18dB/OCT

+15dB -4 5dB

+15

AUX

PRE

+15

FREQ

800

2k200

8k10 0

MID

PAN

+15

80Hz

LOW

+15-15

+15

12k

SOLO

L/R

REC

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Mackie 1642-VLZ PRO Manuel du propriétaire Page 18

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