multitrack machine

sound sources

1–89–16

direct group outputs outputs

The outputs of the multitrack are then patched to the next eight LINE [2] inputs on the 1604-VLZ3 (multi- track out 1 to LINE input 9, 2 to 10, 3 to 11, etc.). Aha! That’s why it says “TRACK 1” next to channel 9’s fader, “TRACK 2” next to channel 10, and so forth. These channels (9–16) will be assigned to the mixer’s output sec- tion, delivering the signals to their ultimate destination, which may be your mixdown 2-track, your control room system, or your headphones.

to some of the tracks, and the DIRECT OUT jacks to feed single-channel signals (like bass guitar) to the other tracks.

The point is that you never listen directly to the source channels (1–8). You listen to the monitor channels (9–16) and they’re listening to the multitrack that is listening to the source channels. (Make sure to assign the monitor channels 9-16 to the L/R mix, and not the source channels 1-8.) 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 cer- tain that the signals are indeed getting to the multi- track, since you’re constantly listening to it.

Another method of interfacing a multitrack is called inline monitoring, and requires a dedicated mixing console, like the Mackie 8•Bus. Each of its channels is actually two channels: one carrying the mic/line sound source and the other carrying the multitrack output.

6. AUX SEND OUTPUTS

These 1/4" jacks usually patch to the inputs of your parallel effects devices or to the inputs of your stage monitor amps. For details see "Aux Talk" on page 23.

EFFECTS: SERIAL OR PARALLEL?

You’ve heard us carelessly toss around the terms “se- rial” and “parallel.” Here’s what we mean by them:

“Serial” means that the entire signal leaves the mixer (INSERT [4] send), is routed through the effects device, and returns to the mixer (INSERT return). Ex- amples: compressor, limiter, graphic equalizer. Line-level sources can also be patched through a serial effects device before or after the mixer.

Manual Owner’s

But let’s not forget that the 1604-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.

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 9 LINE input, as we just discussed. (Hot tip:

To feed an 8-track deck with 4 sub outputs, simply use Y-cords: SUB OUT 1 feeds tracks 1 and 5, 2 feeds 2 and 6, 3 feeds 3 and 7, and 4 feeds 4 and 8. Tracks in record mode will accept the signal, and tracks in safe mode will ignore the signal.)

The advantages: You can assign any channel to any track, without repatching. You can assign multiple channels to one track and control the overall level of that subgroup. You can’t bounce tracks without this feature.

Perhaps the best method is to do both: Use the SUB OUTS to feed multichannel submixes (like a drum kit)

 

Insert

Insert

 

Send

Return

 

Signal Processor

 

Dry Signal

(e.g., Compressor)

Processed

 

 

Signal

“Parallel” means that a portion of the signal in the mixer is tapped off to the device (AUX SEND [6]), pro- cessed, and returned to the mixer (STEREO RETURN [7]) to be mixed with the original “dry” signal. This way, multiple channels can all make use of the same effects device. Examples: reverb, digital delay.

Aux

Aux

Output

 

Send

Return

Section

 

Signal Processor

 

 

 

(e.g., Reverb)

 

Wet Signal

 

 

 

Mix

Processed

Channel Path

 

Stage

Signal

 

 

 

Dry Signal(s)

 

Dry Signal(s)

 

Owner’s Manual

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