(MAIN MIX TO SUBS switch up) and you did a drum fade-out using subgroup faders 1 and 2, the “dry” signals would fade out, but the “wet” signals would keep on singing. All you would hear is the drum reverb (the “wet”), and none of the original drum signals (the “dry”). That’s because the reverb is being fed by the channel’s AUX sends, and they have no idea that you’ve pulled down the subgroup faders. That’s why we threw in these switches.

C-R/PHNS ONLY (AUX RET 4)

Once again, the default for all the STEREO AUX RETURNS is to feed them directly into the MAIN MIX. You’ve just learned about the optional exceptions involving AUX RETURN 3. AUX RETURN 4 also has an optional excep- tion: By engaging the C-R/PHNSswitch, you will remove AUX RETURN 4’s stereo signal from the MAIN MIX and send it directly to the CTL ROOM/PHONES SOURCE matrix . It matters not if any of the SOURCE matrix switches are assigned, but it will be inter- rupted, as usual, if a SOLO switch is engaged.

Let’s pretend you’re doing a live mix to a 2-track deck, a house PA, or both, and you want to play along to a click track. You could run the click track directly into the MAIN MIX, but you don’t want the mixdown deck and/or audience to hear it. By gum, this is the switch for you. Similarly, it can be used for voice-over tracks, narration, anything you want heard by the engineer and players but not by the audience and mixdown deck.

U ASSIGN OPTIONS

3

 

+20

MAIN MIX

1–2

OO

TO SUBS

3–4

U

4

 

 

 

OO

+20

C-R / PHNS

RETURNS

ONLY

SOLO

STEREO AUX RETURN

RETURNS SOLO

This switch operates just like the channel SOLO switches — engaging it sends signals to the C-R OUTS, PHONES output and meter display and interrupts whatever happened to be there before you soloed. It follows the MODE switch setting as well. The only difference is that when you engage the RETURNS SOLO switch, it sends all four STEREO AUX RETURNS signals to the SOLO circuit.

Assume you want to solo the snare drum. Hit that channel’s SOLO switch, and you get the “dry” (no effects) snare only. That helps, but you want to hear it with the reverb you have patched into an AUX RETURN. Leaving that channel’s SOLO switch engaged, also engage the RETURNS SOLO switch, and now you’ll get the dry snare and its reverb.

Since it is a global feature, you’ll also get the signals from all the other AUX RETURNS, so there may be some sounds that you didn’t want to hear. If they offend your sensibilities, simply turn down the levels of the STEREO AUX RETURNS you don’t want to hear, or MUTE the channels feeding the unwanted signal to the effects device you do want to hear.

Congratulations! You’ve just read about all the features of your 1604-VLZ PRO. You’re probably ready for a cold one. Go ahead. The rest of the manual can wait.

MODIFICATIONS

For most folks, the 1604-VLZ PRO works just fine the way it is. But for special applications, there are two signal routing changes that can be performed easily on the 1604-VLZ PRO. Easy for someone with soldering experience, that is. If you don’t know how to solder, find a technician that can. This is NOT a good place to learn!

•Modification A changes AUX SEND 1 and 2, with the pre switch engaged, to be post-EQinstead of pre-EQ.

•Mod B changes the SOURCE matrix’s MAIN MIX selection to tap the stereo signal before the MAIN MIX level control (pre) instead of after (post).

Instructions for performing these modifications can be found on our website at www.mackie.com (click on Support). Or you can call Tech Support at 1-800-258-6883 for assistance.

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