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 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.

multitrack machine

sound sources

1–89–16

direct group outputs outputs

The outputs of the multitrack are then

patched to the next eight LINE inputs on the 1604-VLZ PRO (multitrack 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 section, delivering the signals to their ultimate destination, which may be your mixdown 2-track, your control room system, or your headphones.

But let’s not forget that the 1604-VLZ PRO is a 4-bus mixer. These buses lead to the SUB OUTS , 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) 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. 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 certain that the signals are indeed getting to the multitrack, since you’re constantly listening to it.

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

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. To learn how signals are routed to these outputs: . To wire your own cables: .

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