Mackie 1642-VLZ3 User Manual
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1642-VLZ3
164
2-
VLZ3
Output Section Description
You’ve just learned about the input channels and how
the signals get in and out. The signals come in via MIC
[1] and LINE [2] input jacks, are manipulated by the
channels, and then sent to the output section. In the
output section, things get a bit more complicated, so put
on your thinking caps.
[1] and LINE [2] input jacks, are manipulated by the
channels, and then sent to the output section. In the
output section, things get a bit more complicated, so put
on your thinking caps.
37. MAIN MIX FADER
This controls the levels of signals sent to the MAIN
OUTS [14] and TAPE [11] OUTPUT jacks. All channels
and stereo returns that are assigned to the main mix,
that are not muted or turned fully down, will appear at
the MAIN OUTS. Before the main mix gets to this fader,
the signals pass through the MAIN INSERT [13].
and stereo returns that are assigned to the main mix,
that are not muted or turned fully down, will appear at
the MAIN OUTS. Before the main mix gets to this fader,
the signals pass through the MAIN INSERT [13].
The main mix signals are off with the fader fully down,
the “U” marking is unity gain, and fully up provides 10
dB of additional gain. This additional gain will typically
never be needed, but it’s nice to know it’s there. The
fader itself is a stereo version of the channel and sub-
group faders — same supersmooth custom taper, same
dead silence when turned fully down. This is the fader
to pull down at the end of the song when you want “The
Great Fade-Out.”
dB of additional gain. This additional gain will typically
never be needed, but it’s nice to know it’s there. The
fader itself is a stereo version of the channel and sub-
group faders — same supersmooth custom taper, same
dead silence when turned fully down. This is the fader
to pull down at the end of the song when you want “The
Great Fade-Out.”
38. SUBGROUP FADERS
As you might expect, these faders control the levels
of signals sent to the SUB OUT [8] jacks. All channels
that are assigned to subgroups, not muted and not
turned fully down, will appear at the SUB OUTS. Unlike
the MAIN OUTS [14], the subgroup signals do not pass
through an insert jack on their way to the subgroup
faders. That’s no problem — should you want to send
these signals through a serial effects processor, simply
patch from the SUB OUTS to the effect’s input, and from
the effect’s output to whatever the fi nal destination is,
usually a multitrack recorder.
that are assigned to subgroups, not muted and not
turned fully down, will appear at the SUB OUTS. Unlike
the MAIN OUTS [14], the subgroup signals do not pass
through an insert jack on their way to the subgroup
faders. That’s no problem — should you want to send
these signals through a serial effects processor, simply
patch from the SUB OUTS to the effect’s input, and from
the effect’s output to whatever the fi nal destination is,
usually a multitrack recorder.
The subgroup signal is off when its fader is fully down,
the “U” marking is unity gain, and fully up provides 10
dB additional gain. Remember that if you’re treating
two subgroups as a stereo pair, subgroup 1 and 2 for
example, make sure that both subgroup faders “ride”
together, to maintain the left/right balance.
dB additional gain. Remember that if you’re treating
two subgroups as a stereo pair, subgroup 1 and 2 for
example, make sure that both subgroup faders “ride”
together, to maintain the left/right balance.
39. ASSIGN TO MAIN MIX
One popular use of the subgroups is to use them as
master faders for a group of channels on their way to
the main mix. Let’s say you’ve got a drum kit hogging up
seven channels and you’re going to want to fade them
out at a different rate than the other channels. You don’t
want to try that with seven hands or seven fi ngers, so
just un-assign these channels from L/R, reassign them
to subgroup 1–2, engage the ASSIGN TO MAIN MIX,
LEFT on subgroup 1 and RIGHT on subgroup 2. Now you
can ride the entire stereo drum mix with two faders — 1
and 2.
the main mix. Let’s say you’ve got a drum kit hogging up
seven channels and you’re going to want to fade them
out at a different rate than the other channels. You don’t
want to try that with seven hands or seven fi ngers, so
just un-assign these channels from L/R, reassign them
to subgroup 1–2, engage the ASSIGN TO MAIN MIX,
LEFT on subgroup 1 and RIGHT on subgroup 2. Now you
can ride the entire stereo drum mix with two faders — 1
and 2.
If you engage just one of these switches per subgroup
(left or right), the signal sent to the main mix will be
the same level as the SUB OUTs [8]. If you want a sub-
group to appear in the center of the main mix, engage
both left and right switches for that subgroup. The
signal will be sent to both sides, and will be attenuated
just enough to preserve constant loudness, just like the
channel PAN [31] knobs when set in the center.
the same level as the SUB OUTs [8]. If you want a sub-
group to appear in the center of the main mix, engage
both left and right switches for that subgroup. The
signal will be sent to both sides, and will be attenuated
just enough to preserve constant loudness, just like the
channel PAN [31] knobs when set in the center.
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