Mackie 1642-VLZ3 Manual De Usuario

Owner’

s Manual

Dry Signal

Processed

Signal

Insert

Send

Insert

Return

Dry Signal(s)

Dry Signal(s)

Aux

Send

Aux

Return

Wet Signal

Channel Path

Mix

Stage

Output

Section

Processed

Signal

Signal Processor

(e.g., Compressor)

Signal Processor

(e.g., Reverb)

Dry Signal

Processed

Signal

Insert

Send

Insert

Return

Dry Signal(s)

Dry Signal(s)

Aux

Send

Aux

Return

Wet Signal

Channel Path

Mix

Stage

Output

Section

Processed

Signal

Signal Processor

(e.g., Compressor)

Signal Processor

(e.g., Reverb)

These 1/4" jacks are usually patched to the inputs of a 

multitrack deck, or to secondary amplifiers in a complex 
installation. See page 18 for details of the SUBGROUP 
FADERS [38].  (See also the discussion on double bus-
ing on the previous page.)

These 1/4" jacks are usually patched to the inputs of 

your control room amplifier or a headphone distribution 
amplifier. See page 19, CONTROL ROOM and PHONES 
[43] for details of the signal routing to these outputs. 

These stereo 1/4" phones 

jacks will drive any stan-
dard headphone to very 
loud levels. Walkperson-
type phones can also be 
used with an appropriate 
adapter. See page 19, CON-
TROL ROOM and PHONES 
[43] for details of the 
signal routing to these outputs.

If you’re wiring your own cable for the PHONES out-

put, follow standard conventions:

Tip = left channel
Ring = right channel
Sleeve = common ground

WARNING: When we say the headphone 
amp is loud, we’re not kidding. It can cause 
permanent ear damage. Even intermediate 

levels may be painfully loud with some earphones. BE 
CAREFUL!

Always turn the PHONES knob all the way 
down before connecting headphones. Keep 
it down until you’ve put the phones on. Then 

turn it up slowly. Why? “Engineers who fry their ears 
find themselves with short careers.”

Another method of interfacing a multitrack is called 

in-line monitoring, and requires a mixing console 
dedicated to that, 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.

These 1/4" jacks usually patch to the inputs of your 

parallel effects devices or to the inputs of your stage 
monitor amps. To learn how signals are routed to these 
outputs, see the Aux discussion on page 21. 

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 send), is routed through the effects device, 
and returns to the mixer (INSERT return). Examples: 
compressor, limiter, graphic equalizer. Line-level 
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), pro-
cessed, and returned to the mixer (STEREO RETURN) 
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. 

This is where you connect the outputs of your parallel 

effects devices (or extra audio sources). There are four 
stereo returns. They’ll accept just about any pro or semi-
pro effects device on the market. See page 22 for details 
of the STEREO RETURN [51] level controls.

Mono: If you have an effects device with a mono 

output (one cord), plug that into the left input of a 
STEREO RETURN and leave the right input unplugged. 
That way, the signal will be sent to both sides, magically 
appearing in the center as a mono signal.