Mackie 1604-VLZ3 User Manual

Owner’s Manual

Owner’

s Manual

The outputs of the multitrack are then patched to the

next eight LINE [2] inputs on the 1604-VLZ3 (multi-
track out 1 to LINE input 9, 2 to 10, 3 to 11, etc.). Aha!
That’s why it says “TRACK 1” next to channel 9’s fader,
“TRACK 2” next to channel 10, and so forth. These chan-
nels (9–16) will be assigned to the mixer’s output sec-
tion, 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 1604-VLZ3 is a 4-bus

mixer. These buses lead to the SUB OUTS [8], and are
designed to accomplish the task of getting channels to
the multitrack without using the direct outputs.

For example, a channel is assigned to SUB OUT 1.

SUB OUT 1’s output is patched to multitrack input 1.
From there, the multitrack output goes to the mixer’s
channel 9 LINE input, as we just discussed. (Hot tip:
To feed an 8-track deck with 4 sub outputs, simply use
Y-cords: SUB OUT 1 feeds tracks 1 and 5, 2 feeds 2 and
6, 3 feeds 3 and 7, and 4 feeds 4 and 8. 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 assign multiple chan-
nels to one track and control the overall level of that
subgroup. You can’t bounce tracks without this feature.

Perhaps the best method is to do both: 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 signals (like bass guitar) to the
other tracks.

The point is that you never listen directly to the

source channels (1–8). You listen to the monitor chan-
nels (9–16) and they’re listening to the multitrack that
is listening to the source channels. (Make sure to assign
the monitor channels 9-16 to the L/R mix, and not the
source channels 1-8.) 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 cer-
tain that the signals are indeed getting to the multi-
track, since you’re constantly listening to it.

Another method of interfacing a multitrack is called

inline monitoring, and requires a dedicated mixing
console, like the Mackie 8•Bus. Each of its channels is
actually two channels: one carrying the mic/line sound
source and the other carrying the multitrack output.

6. AUX SEND OUTPUTS

These

" jacks usually patch to the inputs of your

parallel effects devices or to the inputs of your stage
monitor amps. For details see "Aux Talk" on page 23.

EFFECTS: SERIAL OR PARALLEL?

You’ve heard us carelessly toss around the terms “se-

rial” and “parallel.” Here’s what we mean by them:

“Serial” means that the entire signal leaves the mixer

(INSERT [4] send), is routed through the effects
device, and returns to the mixer (INSERT return). Ex-
amples: compressor, limiter, graphic equalizer. Line-lev-
el sources can also be patched through a serial effects
device before or after the mixer.

“Parallel” means that a portion of the signal in the

mixer is tapped off to the device (AUX SEND [6]), pro-
cessed, and returned to the mixer (STEREO RETURN
[7]) to be mixed with the original “dry” signal. This way,
multiple channels can all make use of the same effects
device. Examples: reverb, digital delay.

multitrack

machine

sound sources

direct

outputs

group

outputs

1–8

9–16

Dry Signal(s)

Aux

Send

Aux

Return

Wet Signal

Channel Path

Mix

Stage

Output

Section

Processed

Signal

Signal Processor

(e.g., Reverb)

Dry Signal