1604-VLZ3

4

2

6 5

2. LINE INPUTS

These 1/4" jacks share circuitry (but not phantom power) with the mic preamps, and can be driven by balanced or unbalanced sources at almost any level. You can use these inputs for virtually any signal you’ll come across, from instrument levels as low as –50 dBu, to operating levels of –10 dBV to +4 dBu, since there is –15 to +45 dB of gain (60 dB range) available for line inputs via the GAIN [3] knob. Always make sure to perform the Level-Setting Procedure on page 3.

To connect balanced lines to these inputs, use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, the type found on stereo headphones:

To connect unbalanced lines to these inputs, use a 1⁄4" mono (TS) phone plug or instrument cable:

 

3. GAIN

3

Yes it’s true, these controls are not in the

patchbay section at all. They’re found along the

 

top row of knobs in the channel strip section.

 

But their purpose is so closely linked with the

 

MIC [1] and LINE [2] input jacks that we

 

couldn’t bear to separate them. Here’s why:

 

Every time you plug something into a MIC or

 

LINE input jack, you should perform the Level-

 

Setting Procedure, and that procedure is basi-

 

cally “how to use the GAIN knob.”

 

GAIN adjusts the input sensitivity of the MIC

 

and LINE inputs. This allows signals from the

 

outside world to be adjusted to optimal internal

 

operating levels.

Through the XLR jack (MIC), there will be 0 dB of gain with the knob fully down, ramping to 60 dB of gain fully up.

Through the 1/4" input (LINE), there is 15 dB of attenuation fully down and 45 dB of gain fully up, with a

 

 

“U” (unity gain) mark at 10:00.

 

 

This 15 dB of attenuation can be very handy when you

 

 

are inserting a signal that is very hot, or you want to add

 

 

a lot of EQ gain, or both. Without this “virtual pad,” this

 

 

scenario might lead to channel clipping.

 

 

 

 

 

 

 

10

1604-VLZ3

 

 

 

4. INSERT

These unbalanced 1/4" jacks are for connecting serial effects processors such as compressors, equalizers, de-essers, or filters. The insert point is after the GAIN

[3]control, but before the channel’s EQ [32], LOW CUT [33], FADER [25] and MUTE [30] controls. Insert cables must be wired thusly:

 

ring

 

SEND to processor

tip

(TRS plug)

“tip”

sleeve

 

This plug connects to one of the

“ring”

mixer’s Channel Insert jacks.

RETURN from processor

Tip = send (output to effects device)

Ring = return (input from effects device)

Sleeve = common ground

Even though channels 1–8 already have DIRECT OUT

[5]jacks , INSERT jacks can also be used as channel direct outputs; post-GAIN, pre-LOW CUT, and pre-EQ. See the connector section on page 29 (figure F) showing three ways to use insert cables.

5. DIRECT OUT

Found only on channels 1–8, these balanced 1/4" jacks deliver the signal from the very end of the channel path; post-GAIN [3], post-EQ [32], post-LOW CUT [33], post-FADER [25], and post-MUTE [30]. They are the key player in “split monitoring,” making the 1604-VLZ3 perfect for an 8-track studio.

SPLIT MONITORING

With split monitoring, you use the first

eight 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 the corresponding multitrack input (DIRECT OUT 1 to multitrack input 1, 2 to 2, 3 to 3, etc.). The signals will now be recorded or pass directly through the multitrack, depending on each track’s record-ready status.