Now you know how to select the signals you want to send to the engineer’s control room or phones. From there, these signals all pass through the same level control:

CTL ROOM / SUBMIX

This fader controls the levels of both the stereo CONTROL ROOM OUTPUTS and PHONES OUTPUTS . The control range is from off through unity gain at the “U” marking, with 10dB of extra gain fully up.

When MAIN MIX is your SOURCE selec- tion, those signals will pass through two level controls on the way to your control room amp and phones — the MAIN MIX fader and this CTL ROOM / SUBMIX fader. This way, you can send a nice healthy level to the MAIN OUTPUTS (MAIN MIX fader at “U”), and a quiet level to the control room or phones (CTL ROOM / SUBMIX fader wherever you like it).

When ALT 3-4or TAPE is selected, or SOLO is engaged, this fader will be the only one controlling these levels (channel controls not withstanding).

UU

OO +10

 

OO

+20

1

 

 

AUX 1 MASTER

 

 

U NORMALLED

PRE

 

 

 

2

 

 

 

 

POST

 

 

 

AUX

AUX 1

EFX TO

 

 

OO

+20 RETURN

SELECT

MONITOR

C-R/SOURCE

 

LEFT

RIGHT

 

 

0dB=0dBu

 

 

 

 

28

 

MAIN MIX

 

 

10

 

 

 

 

7

 

ALT 3–4

 

 

4

 

 

 

2

 

 

 

 

 

 

 

 

0

 

TAPE

 

 

2

 

 

 

 

4

 

ASSIGN

 

 

7

 

 

 

10

LEVEL

TO MAIN MIX

 

 

 

 

SET

 

 

 

 

 

 

 

20

 

NORMAL (AFL)

 

30

 

LEVEL SET (PFL)

 

 

SOLO

 

 

 

 

MODE

 

RUDE

 

 

 

SOLO

 

PHANTOM POWER

 

LIGHT

 

 

 

 

 

CTL ROOM /SUBMIX

MAIN MIX

 

dBdB

1010

5

5

U

U

5

5

10

10

20

20

30

30

40

40

50

50

60

60

OO

OO

Whatever your selection, you can also use the CONTROL ROOM OUTPUTS for other applications. It's sound quality is just as impeccable as the MAIN MIX outputs. It can be used as additional MAIN MIX output, which may sound silly since there are already three, but this one has its own level control. However, should you do something like this, be sure that you never engage a SOLO switch, as that will interrupt your SOURCE selection.

SOLO MODE: AFL/PFL

Engaging a channel’s SOLO switch will cause this dramatic turn of events: Any existing SOURCE matrix selections will be replaced by the SOLO signal, appearing at the CONTROL ROOM OUTPUTS, PHONES OUTPUTS and at the METERS. The audible SOLO levels are then controlled by the CTL ROOM / SUBMIX fader. The SOLO levels appearing on the METERS are not controlled by anything — you wouldn’t want that. You want to see the actual channel level on the METERS regardless of how loud you’re listen- ing.

With the SOLO MODE switch in the up position, you’re in AFL mode, meaning After- Fader Listen. You’ll hear the output of the soloed channel — it will follow the channel’s TRIM, EQ, FADER and PAN set- tings. It’s similar to muting all the other channels, but without the hassle. Use AFL mode during mixdown.

With the switch down, you’re in PFL mode, meaning Pre-Fader Listen (post EQ). This mode is required for the Level Setting Procedure and is handy for quick spot-checks of channels, especially ones that have their faders turned down.

In either mode, SOLO will not be affected by a channel’s MUTE/ALT switch position.

RUDE SOLO LIGHT

This flashing Light Emitting Diode serves two purposes — to remind you that at least one channel is in SOLO, and to let you know that you’re mixing on a Mackie. No other company is so concerned about your level of SOLO awareness. If you work on a mixer that has a solo function with no indicator lights, and you happen to forget you’re in solo, you can easily be tricked into thinking that something is wrong with your mixer. Hence the RUDE SOLO LIGHT. It’s especially handy at about 3AM when no sound is coming out of your monitors but your multitrack is playing back like mad.

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