1642-VLZ3

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9

8

7

5. DIRECT OUT

Only on channels 1–8, these 1/4" balanced jacks deliver the signal from the very end of the channel path; post-GAIN [3], post-EQ [32], post-LOW CUT [34], post- FADER [25], and post-MUTE [30]. Use these for record- ing, making the 1642-VLZ3 perfect for an 8-track studio.

RECORDING

When recording, you use the first two 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 any of your 8 multitrack inputs. This allows recording of two tracks at a time. By reconnecting the Direct Outs to the different tape inputs, you can record to all of the 8 tracks.

Once the tracking is completed, the outputs of the multitrack are then patched to channels 3-12 LINE

[2]inputs on the 1642-VLZ3 (multitrack out 1 to LINE input 3, 2 to 4, 3 to 5, etc.). Aha! That’s why it says “TRACK 1” next to channel 3’s fader, “TRACK 2” next to channel 4, and so forth. These channels (3–12) 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 1642-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 3 LINE input, as we just discussed.

 

 

 

 

 

 

 

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1642-VLZ3

 

 

 

Double Busing

How on earth do you get four buses to feed eight tracks? Double busing!

•Bus 1 feeds SUB OUT 1 and SUB OUT 5, which in turn feed tracks 1 and 5

•Bus 2 feeds SUB OUT 2 and SUB OUT 6, which in turn feed tracks 2 and 6

•Bus 3 feeds SUB OUT 3 and SUB OUT 7, which in turn feed tracks 3 and 7

•Bus 4 feeds SUB OUT 4 and SUB OUT 8, which in turn feed tracks 4 and 8

Patch the 8 SUB OUTs to the inputs of the 8-track deck. 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.

By returning the outputs of the effects processors to 13/14 (EFX A) and 15/16 (EFX B), you can choose to record or Monitor with effects.

Perhaps the best recording method is a combination of both approaches: Use the SUB OUTS to feed mul- tichannel 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. You listen to the monitor channels (3–12) 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.