Mackie 1642-VLZ3 Manual De Usuario
10
1642-VLZ3
164
2-
VLZ3
5. DIRECT OUT
Only on channels 1–8, these 1/4" balanced jacks
deliver the signal from the very end of the channel path;
post-GAIN [3], post-EQ [32], post-LOW CUT [34], post-
FADER [25], and post-MUTE [30]. Use these for record-
ing, making the 1642-VLZ3 perfect for an 8-track studio.
post-GAIN [3], post-EQ [32], post-LOW CUT [34], post-
FADER [25], and post-MUTE [30]. Use these for record-
ing, making the 1642-VLZ3 perfect for an 8-track studio.
RECORDING
When recording, you use the fi rst two channels for
your sound sources: vocal mics, drum mics, keyboard/
synth outputs, guitar effects outputs, that sort of thing.
From there, the channels manipulate the sound, but
are not assigned to the output section. Instead, they’re
patched from the channel’s DIRECT OUT [5] jacks to
any of your 8 multitrack inputs. This allows recording of
two tracks at a time. By reconnecting the Direct Outs to
the different tape inputs, you can record to all of the 8
tracks.
synth outputs, guitar effects outputs, that sort of thing.
From there, the channels manipulate the sound, but
are not assigned to the output section. Instead, they’re
patched from the channel’s DIRECT OUT [5] jacks to
any of your 8 multitrack inputs. This allows recording of
two tracks at a time. By reconnecting the Direct Outs to
the different tape inputs, you can record to all of the 8
tracks.
Once the tracking is completed, the outputs of the
multitrack are then patched to channels 3-12 LINE
[2] inputs on the 1642-VLZ3 (multitrack out 1 to LINE
input 3, 2 to 4, 3 to 5, etc.). Aha! That’s why it says
“TRACK 1” next to channel 3’s fader, “TRACK 2” next to
channel 4, and so forth. These channels (3–12) will be
assigned to the mixer’s output section, delivering the
signals to their ultimate destination, which may be your
mixdown 2-track, your control room system, or your
headphones.
[2] inputs on the 1642-VLZ3 (multitrack out 1 to LINE
input 3, 2 to 4, 3 to 5, etc.). Aha! That’s why it says
“TRACK 1” next to channel 3’s fader, “TRACK 2” next to
channel 4, and so forth. These channels (3–12) will be
assigned to the mixer’s output section, 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 1642-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.
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 3 LINE input, as we just discussed.
From there, the multitrack output goes to the mixer’s
channel 3 LINE input, as we just discussed.
Double Busing
How on earth do you get four buses to feed
eight tracks? Double busing!
•
Bus 1 feeds SUB OUT 1 and SUB OUT 5, which
in turn feed tracks 1 and 5
in turn feed tracks 1 and 5
•
Bus 2 feeds SUB OUT 2 and SUB OUT 6, which
in turn feed tracks 2 and 6
in turn feed tracks 2 and 6
•
Bus 3 feeds SUB OUT 3 and SUB OUT 7, which
in turn feed tracks 3 and 7
in turn feed tracks 3 and 7
•
Bus 4 feeds SUB OUT 4 and SUB OUT 8, which
in turn feed tracks 4 and 8
in turn feed tracks 4 and 8
Patch the 8 SUB OUTs to the inputs of the 8-track
deck. Tracks in record mode will accept the signal, and
tracks in safe mode will ignore the signal.
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.
nels to one track and control the overall level of that
subgroup. You can’t bounce tracks without this feature.
By returning the outputs of the effects processors to
13/14 (EFX A) and 15/16 (EFX B), you can choose to
record or Monitor with effects.
record or Monitor with effects.
Perhaps the best recording method is a combination
of both approaches: Use the SUB OUTS to feed mul-
tichannel submixes (like a drum kit) to some of the
tracks, and the DIRECT OUT jacks to feed single-chan-
nel signals (like bass guitar) to the other tracks.
tichannel submixes (like a drum kit) to some of the
tracks, and the DIRECT OUT jacks to feed single-chan-
nel signals (like bass guitar) to the other tracks.
The point is that you never listen directly to the
source channels. You listen to the monitor channels
(3–12) and they’re listening to the multitrack that is
listening to the source channels. 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 certain that the signals are indeed getting to
the multitrack, since you’re constantly listening to it.
(3–12) and they’re listening to the multitrack that is
listening to the source channels. 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 certain that the signals are indeed getting to
the multitrack, since you’re constantly listening to it.
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