APPLICATIONS: CHAPTER 2

These 4-Bus mixers are well suited for 8-track recording applications. They’re compact enough to fit on a desktop and flexible enough to provide real pro studio features. We’ll describe a multitrack recording setup using a 1604-VLZ PRO and point out the few differences when using a 1642-VLZ PRO and Onyx 1640 in this application.

Split Monitoring

This application diagram illustrates the concept of Split Monitoring.

The lower numbered channels (1-8) feed the recorder, while the higher numbered channels (9-16) are dedicated to monitoring the outputs of the mul- titrack recorder. The outputs of channels 1-8 are assigned as needed to get the input signal to the desired track on the recorder. The outputs of the “monitoring” channels 9-16 are assigned to the MAIN L-R busses.

Recorded tracks playing back, as well as anything routed to the recorder when the recorder is in the Input Monitor mode (this mode sends the recorder inputs straight out its outputs) will be heard when you push up the faders on Channels 9-16.

Since the recorder returns are assigned to the MAIN mix, you can always hear what you’re recording, what you’re about to record (when you’re checking tuning, positioning mics, or setting levels) and what you’ve previously recorded.

When a microphone channel is live (as-

signed to a recorder track and not muted) and you’re monitoring that track with the

control room speakers, you can get feedback if the mic is in the same room as the speakers. When recording from a mic in the control room, kill the signal to the CR speakers by turning the CR volume down or switching the amplifier off.

Multitrack Recorder Inputs

In this hookup, we’ve chosen to feed Tracks 1-4 from SUB OUTs 1-4. Tracks 5-8 are fed from DIRECT OUT 5-8, the channels to which, in this example, the keyboard and drum machine are connected. When you’re recording, Channels 1-4 are assigned to subgroups while Channels 5-8 are assigned to nothing (neither subgroups nor the Main mix). You can, however, assign them to L-R if you’re rehearsing and want to hear something without the recorder being turned on.

 

 

 

 

68

Compact Mixer Reference Guide

 

 

 

2-Track Mixdown Recorder

The mixdown (Cassette/DAT) recorder is connected to the RCA TAPE OUT jacks, which deliver the MAIN L/R mix at a level of 0 dBV. If you have a mixdown recorder that operates at “pro” levels, connect it instead to the balanced or balanced/unbalanced MAIN stereo outputs.

It’s handy to have the mixdown recorder outputs connected to the TAPE IN jacks, however, even if an adapter is required. That way, you can listen to your mix by simply selecting TAPE as the Control Room Source.

We’ve shown an equalizer and compressor connected in line with the mixdown recorder by plugging them into the MAIN INSERT jacks. This allows you to do some pre-mastering, touching up the final frequency balance and reducing the dynamic range so that all the elements of your mix can be heard even in a noisy car. We suggest that you only connect this final compressor and/or EQ when you’re ready to do your final mix. Their action could be misleading while you’re tracking.

Effects

We’re feeding a “parallel path” reverb from AUX SEND 4 and returning its output to the mix in stereo on stereo AUX RETURN 2. A digital delay is fed from AUX SEND 3 and returns on AUX RETURN 1. If you have a mono delay, connecting its output to the left RETURN channel centers the delayed signal in the stereo mix.

What’s wrong with using SENDs 1 and 2? Noth- ing, and when you have a rack full of effects at your disposal, there are times when you’ll do so, but there’s a method to this madness.

We want to send a post-fader signal to our effects, and AUX 3 and 4 are always post-fader. Chances are you’ll be reaching for the Reverb send knob more frequently than the Delay knob, so we’ve made the bottom knob of the group the Reverb. That way it will be easier to find. It’s attention to these little details that can help you to avoid careless errors after a looooooong mixing session.

We’ve chosen to bring the two effects back into the mix on RETURNs 1 and 2 so if we choose to create a separate headphone cue mix on AUX 1 or 2 (rather than use the PHONES jack), we can add effects to the headphone mix as well as the main (Control Room) mix.