MACKIE 1604-VLZ PRO - Manual (Page 2)

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Compact Mixer Reference Guide
APPLICATIONS: CHAPTER 2
These 4-Bus mixers are well suited for 8-track
recording applications. They’re compact enough to fi t
on a desktop and fl exible enough to provide real pro
studio features. We’ll describe a multitrack recording
setup using a 1604-VLZ PRO and point out the few dif-
ferences when using a 1642-VLZ PRO and Onyx 1640
in this application.
Split Monitoring
This application diagram illustrates the concept of
Split Monitoring.
The lower numbered channels (1-8) feed the
recorder, while the higher numbered channels (9-16)
are dedicated to monitoring the outputs of the mul-
titrack recorder. The outputs of channels 1-8 are as-
signed as needed to get the input signal to the desired
track on the recorder. The outputs of the “monitoring”
channels 9-16 are assigned to the MAIN L-R busses.
Recorded tracks playing back, as well as anything
routed to the recorder when the recorder is in the
Input Monitor mode (this mode sends the recorder
inputs straight out its outputs) will be heard when
you push up the faders on Channels 9-16.
Since the recorder returns are assigned to the
MAIN mix, you can always hear what you’re recording,
what you’re about to record (when you’re checking
tuning, positioning mics, or setting levels) and what
you’ve previously recorded.
When a microphone channel is live (as-
signed to a recorder track and not muted)
and you’re monitoring that track with the
control room speakers, you can get feedback if the
mic is in the same room as the speakers. When re-
cording from a mic in the control room, kill the signal
to the CR speakers by turning the CR volume down or
switching the amplifi er off.
Multitrack Recorder Inputs
In this hookup, we’ve chosen to feed Tracks 1-4
from SUB OUTs 1-4. Tracks 5-8 are fed from DIRECT
OUT 5-8, the channels to which, in this example,
the keyboard and drum machine are connected.
When you’re recording, Channels 1-4 are assigned to
subgroups while Channels 5-8 are assigned to noth-
ing (neither subgroups nor the Main mix). You can,
however, assign them to L-R if you’re rehearsing and
want to hear something without the recorder being
turned on.
2-Track Mixdown Recorder
The mixdown (Cassette/DAT) recorder is con-
nected to the RCA TAPE OUT jacks, which deliver
the MAIN L/R mix at a level of 0 dBV. If you have
a mixdown recorder that operates at “pro” levels,
connect it instead to the balanced or
balanced/unbalanced MAIN stereo outputs.
It’s handy to have the mixdown recorder outputs
connected to the TAPE IN jacks, however, even if an
adapter is required. That way, you can listen to your
mix by simply selecting TAPE as the Control Room
Source.
We’ve shown an equalizer and compressor con-
nected in line with the mixdown recorder by plug-
ging them into the MAIN INSERT jacks. This allows
you to do some pre-mastering, touching up the fi nal
frequency balance and reducing the dynamic range so
that all the elements of your mix can be heard even
in a noisy car. We suggest that you only connect this
fi nal compressor and/or EQ when you’re ready to do
your fi nal mix. Their action could be misleading while
you’re tracking.
Effects
We’re feeding a “parallel path” reverb from AUX
SEND 4 and returning its output to the mix in stereo
on stereo AUX RETURN 2. A digital delay is fed from
AUX SEND 3 and returns on AUX RETURN 1. If you
have a mono delay, connecting its output to the left
RETURN channel centers the delayed signal in the
stereo mix.
What’s wrong with using SENDs 1 and 2? Noth-
ing, and when you have a rack full of effects at your
disposal, there are times when you’ll do so, but there’s
a method to this madness.
We want to send a post-fader signal to our effects,
and AUX 3 and 4 are always post-fader. Chances are
you’ll be reaching for the Reverb send knob more
frequently than the Delay knob, so we’ve made the
bottom knob of the group the Reverb. That way it will
be easier to fi nd. It’s attention to these little details
that can help you to avoid careless errors after a
looooooong mixing session.
We’ve chosen to bring the two effects back into the
mix on RETURNs 1 and 2 so if we choose to create a
separate headphone cue mix on AUX 1 or 2 (rather
than use the PHONES jack), we can add effects to the
headphone mix as well as the main (Control Room)
mix.