Mackie 1642-VLZ3 Manual De Usuario

Owner’

s Manual

This knob controls the level of the stereo signal com-

ing from the TAPE [12] INPUT RCA jacks. Its range is 
off when fully down, unity at the center detent, with 20 
dB additional gain turned fully up, which may come in 
handy if you’ve patched in a device with wimpy output 
levels. After the TAPE IN level is determined, the stereo 
tape signal can be sent to either of two places — the 
main mix or the SOURCE [42] matrix. 

Engaging this switch is just like engaging the L/R 

switch on a channel — the signal,  stereo in this case, is 
sent to the main mix. It does not interrupt other signals, 
just adds itself to them. This switch can be very handy 
in a live sound situation when you want to play soothing 
elevator music to an anxious crowd. 

Typically, the engineer sends the main mix to a live 

audience or to a mixdown deck (if recording). But what 
if the engineer needs to hear something other than the 
main mix? With the 1642-VLZ3, the engineer has several 
choices of what to listen to. 

Via these switches, you can choose to listen to any 

combination of MAIN MIX, SUBS 1-2, SUBS 3-4 and 
TAPE. Selections made here deliver stereo signals to 
the control room, headphones, and meter display. These 
signals are tapped off as follows — post-MAIN MIX [37] 
fader, post SUBGROUP [38] faders, and post-TAPE IN 
[40] knob. With no switches engaged, there will be no 
signal at these outputs and no meter indication, with 
two exceptions: SOLO and STEREO RETURN 4.

Regardless of the SOURCE selection, engaging a SOLO 

[27] switch will replace that selection with the SOLO 
signal, also sent to the control room, headphones, and 
meters. This is what makes the Level-Setting Procedure 
so easy to do.

Now you know how to select the signals you want 

to send to the engineer’s control room and/or phones. 
From there, these signals all pass through two level 
controls:

These knobs control the level of the stereo C-R OUTS 

[9] and PHONES [10] outputs.

You can use the control room outputs for other ap-

plications, such as an additional main mix output with 
its own level control. However, should you do this, be 
aware that if you engage a SOLO switch, it will interrupt 
the mix:

Once again, engaging a SOLO [27] switch will cause 

this dramatic turn of events: Any existing SOURCE [42] 
matrix selections will be replaced by the SOLO signals, 
appearing in the control room, headphones, and meters. 
The audible solo levels are controlled by the SOLO [46] 
level knob. The SOLO levels appearing on the meter 
display are not controlled by anything — you wouldn’t 
want that. You want to see the actual channel level on 
the meter display,  regardless of how loud you’re listen-
ing.

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