The 1642-VLZ PRO has a lot in common with the 1604. This hookup shows the 1642-VLZ PRO set up for 8-Track recording with split monitoring and using the built-in double-bussing feature on the SUB outputs. Refer to the 1604 operating procedures for a how-to- do-it description.

Inputs and Outputs

It’s nice to have all the cables in place so you don’t need to re-patch when going from tracking to mix- down, and that’s a plus with this hookup.

Multitrack Recorder Connections

In this application, we’re using Line Inputs 1-8 as the recorder returns. Those will normally be assigned to the main L-R bus so they will appear in the head- phones, control room monitors, and at the inputs of the mixdown recorder. Since the 1642 has 8 mono and 4 stereo inputs, this layout is more appropriate for track bouncing and one-track-at-a-time recording than bringing the recorder returns in on the last 8 (stereo) channels.

Connect the sound sources to Mono/Stereo inputs 9-10 and 11-12. If you need more than two mic inputs, this is an excellent place to use an outboard mic preamp or two, such as the Onyx 800R-800. Using outboard preamps for the different colors that they impart often gives a nice touch to a recording.

Use the PAN controls and ASSIGN buttons to route the signal from the mic or line inputs 9-12 through the SUB Outputs to the recorder inputs. As with the 1604 hookup, we’re using subgroups as signal routers, even though they may not be summing more than one signal.

The 1642-VLZ PRO provides two jacks for each of the four SUB outputs. Connect these to the eight inputs to the 8-track recorder with BUS 1 going to tracks 1 and 5, BUS 2 going to tracks 2 and 6, etc.

Effect Processor Connections

The two effect processors in this hookup are fed from AUX SENDs 3 and 4, and, in this example, are returned to the stereo mix through the two stereo line-level input channels 13-14 and 15-16.

The effect processor outputs could also be connected to AUX RETURNS as shown in the 1604 recording hookup. This would free up the stereo line inputs for additional recording sources – a drum machine, another keyboard, or four more channels of outboard mic preamps. But variety is the spice of mixer hookups.

APPLICATIONS: CHAPTER 2

A Purist’s Recording Path

For recording with the minimum electronics in the signal path, you’ll want to patch channel direct outputs or insert outputs directly to the recorder inputs. Of course you can always connect a line-level source such as a mic preamp or keyboard directly to a recorder input for the purest signal path.

Since only Channels 1-8 have direct outputs and inserts, you’ll need to free those up if you want the most direct path from the mic preamp to the re- corder.

During tracking, you can move the recorder returns to the eight stereo line level inputs 9-16 (you’ll have to move or lose the effect returns). This won’t give you all the panning flexibility that you have on the mono inputs, since, with both inputs of a stereo channel connected, each input is routed to either the Left or Right and the PAN only adjusts the balance between the two. It’ll do for monitoring while track- ing, however.

When you get ready for mixdown, you won’t need the direct outputs, so move the recorder outputs back over to Channels 1-8. After a few switcheroos like this, you’ll be ready for a patchbay.

Recording, Overdubbing, and Mixing

Refer to the 1604-VLZ PRO section for a blow- by-blow description of a tracking session. The only variations are where we’ve chosen to connect things in this example.

 

 

Compact Mixer Reference Guide

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