Mackie 1642-VLZ3 User Manual
1642-VLZ3
16-Channel Mic/Line Mixer
OWNER’S MANUAL
Important Safety Instructions
13.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
1642-VLZ3
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifi ers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fi t into your outlet, consult an electrician for
replacement of the obsolete outlet.
10.
Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11.
Only use attachments/accessories specifi ed by the manufacturer.
12.
Use only with a cart, stand, tripod, bracket, or table specifi ed by the
manufacturer, or sold with the apparatus. When a cart is used, use
caution when moving the cart/apparatus combination to avoid injury
from tip-over.
PORTABLE CART WARNING
Carts and stands - The
Component should be used
only with a cart or stand
that is recommended by
the manufacturer.
A Component and cart
combination should be
moved with care. Quick
stops, excessive force, and
uneven surfaces may cause
the Component and cart
combination to overturn.
CAUTION AVIS
RISK OF ELECTRIC SHOCK
DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC
ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER
2
1642-VLZ3
L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU
D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure, that may be
of sufficient magnitude to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle
équilatéral est utilisé pour alerter l'utilisateur de la présence à
l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur
suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to
alert the user of the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est
employé pour alerter les utilisateurs de la présence d'instructions
importantes pour le fonctionnement et l'entretien (service) dans le
livret d'instruction accompagnant l'appareil.
Unplug this apparatus during lightning storms or when unused for long
periods of time.
14.
Refer all servicing to qualifi ed service personnel. Servicing is required
when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15.
This apparatus shall not be exposed to dripping or splashing, and no
object fi lled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
16.
This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).
17.
This apparatus has been equipped with an all-pole, rocker-style AC
mains power switch. This switch is located on the rear panel and
should remain readily accessible to the user.
18. This apparatus does not exceed the Class A/Class B (whichever is
applicable)
set out in the radio interference regulations of the Canadian Department
of Com mu ni ca tions.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils numériques de
class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage
radioélectrique édicté par les ministere des com mu ni ca tions du Canada.
19.
Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
suffi ciently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specifi ed
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn
when operating the equipment in order to prevent permanent hearing
loss if exposure is in excess of the limits set forth here.
Duration Per Day Sound Level dBA, Typical
In Hours Slow Response Example
8 90 Duo in small club
6 92
4 95 Subway Train
3 97
2 100 Very loud classical music
1.5 102
1 105 Dave screaming at Steve about deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert
WARNING — To reduce the risk of fi re or
electric shock, do not expose this apparatus
limits for radio noise emissions from digital apparatus as
to rain or moisture.
Read This Page!
We realize that you must have a powerful
hankerin’ to try out your new 1642-VLZ3. Or
you might be one of those people who never
reads manuals. All we ask is that you read
this page NOW, and read the rest later— you’ll be glad
you did.
Owner’s Manual
Other Nuggets of Wisdom
For optimum sonic performance, the channel faders and the MAIN MIX fader should be set near the “U”
(unity gain) markings.
Always turn down the MAIN MIX fader and CONTROL
ROOM and PHONES knobs before making connections
to your 1642-VLZ3, or turning PHANTOM POWER on.
WARNING: Before you plug the AC power
cord into the mixer, make sure the VOLTAGE
SELECTOR switch is set to the same voltage
as your local AC mains supply (see page 13).
Level-Setting Procedure
Message to seasoned pros: do NOT set levels using the
old “Turn the trim up until the clip light comes on, then
back off a hair” trick. When a Mackie mixer clip light
comes on, you really are about to clip.
This procedure really works — it assures low noise
and high headroom. Please read on.
It’s not even necessary to hear what you’re doing to
set optimal levels. But if you’d like to: Plug headphones
into the PHONES output jack, then set the PHONES
knob about one-quarter of the way up.
The following steps must be performed one channel at
a time:
1. Turn the GAIN, AUX send and fader controls
fully down.
2. Be sure the 1–2, 3–4 and L/R channel assignment switches are all disengaged.
3. Set the EQ knobs at the center detents.
4. Connect the signal source to the MIC or LINE
channel input.
5. Engage (push in) the channel’s SOLO switch.
6. Push in the MODE switch in the output section
(LEVEL SET (PFL) mode) — the LEVEL SET
LED will light.
7. Play something into the selected input, at realworld levels.
8. Adjust the GAIN control so that the display on
the meter stays around “0.” (Only the left meter
is active in the Level-Setting Procedure.)
9. If you’d like to apply some EQ, do so now and
return to the previous step.
10. Disengage that channel’s SOLO switch.
11. Repeat for each channel.
If you shut down your equipment, turn off your ampli-
fi ers fi rst. When powering up, turn them on last.
Save the shipping box! You may need it someday.
Instant Mixing
Here’s how to get going right away, using a
microphone and a keyboard:
1. Plug your microphone into Channel 1’s MIC
input.
2. Turn on the 1642-VLZ3.
3. Perform the Level-Setting Procedure.
4. Connect cords from the MAIN OUT jacks to
your amplifi er.
5. Hook up speakers to the amp and turn it on.
6. Set channel 1’s fader to the “U” mark.
7. Engage (push in) Channel 1’s L/R switch.
8. Set the MAIN MIX fader one-quarter of the way
up.
9. Sing like a canary!
10. Plug your keyboard into channels 3 and 4.
11. Turn channel 3’s PAN knob fully left and channel 4’s PAN knob fully right.
12. Set those faders to the “U” mark.
13. Perform the Level-Setting Procedure.
14. Engage the L/R switch on these channels.
15. Play like a madman and sing like a canary!
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
Purchased at:
Part No. 0019817 Rev. D
©2007 LOUD Technologies Inc. All Rights Reserved. Printed in China.
Are your teeth really so-brilliantly-white that you can't stand it? Do the popular kids all giggle as you walk past on the beach? Me too. Ever thought about
a career as a technical writer?
Date of purchase:
Owner’s Manual
3
Introduction
Thank you for choosing a Mackie professional com-
pact mixer. The 1642-VLZ3 is equipped with our
TM
precision-engineered XDR2
premium studio-grade mic preamps
1642-VLZ3
Now that you have your 1642-VLZ3, fi nd out how to get
the most from it. That’s where this manual comes in.
Extended Dynamic Range
How To Use This Manual
Since many of you folks will want to hook up your
1642-VLZ3 immediately, the fi rst pages you will encounter after the table of contents are the ever-popular
hookup diagrams. These show typical mixer setups for
Recording and Stereo PA. After this section is a detailed
tour of the entire mixer.
Every feature of the 1642-VLZ3 is described “geographically;” in other words, in order of where it is
physically placed on the mixer’s top or rear panel. These
descriptions are divided into the fi rst three sections,
just as your mixer is organized into three distinct zones:
Patchbay: The patchbay along the top and back,
where you connect things.
Channel Strip: The channel strips on the left where
you adjust each channel.
Output Section: The output section on the right.
Throughout these chapters you’ll fi nd illustrations,
with each feature numbered. If you’re curious about a
feature, simply locate it on the appropriate illustration,
notice the number attached to it, and fi nd that number
in the nearby paragraphs.
This icon marks infor mation that is critically
important or unique to the 1642-VLZ3. For your
own good, read them and remember them. They
will be on the fi nal test.
This icon will lead you to in-depth explanations of features and practical tips. While not
mandatory, they usually have some valuable
nuggets of information.
Appendix A is a section on troubleshooting and repair
information.
Appendix B is a section on connectors: XLR connectors, TRS balanced connectors, TS unbalanced connectors, and Insert connectors.
Appendix C shows the technical specifi cations, and
a block diagram showing the internal signal path and
general goings-on within the mixer.
Need help with your new mixer?
• Visit www.mackie.com and click Support to fi nd:
FAQs (Frequently Asked Questions), manuals, addendums, and
user forums.
• Email us at: techmail@mackie.com.
• Telephone 1-800-898-3211 to speak with one of our splendid
technical support chaps, (Monday through Friday, from 7 a.m.
to 5 p.m. PST).
4
1642-VLZ3
Contents
Owner’s Manual
IMPORTANT SAFETY INSTRUCTIONS ........................2
INTRODUCTION ...................................................... 4
HOOKUP DIAGRAMS...............................................6
PATCHBAY DESCRIPTION
E-Z INTERFACING ..................................... 8
MIC AND LINE INPUT FLEXIBILITY ............. 8
1. MIC INPUTS ............................................ 8
PHANTOM POWER ..................................8
2. LINE INPUTS ............................................9
3. GAIN ...................................................... 9
4. INSERT .................................................... 9
5. DIRECT OUT (ON REAR PANEL) ............... 10
RECORDING ........................................... 10
DOUBLE BUSING ....................................10
6. AUX SEND OUTPUTS ............................. 11
EFFECTS: SERIAL OR PARALLEL? .............. 11
7. STEREO RETURN INPUTS ........................ 11
8. SUB OUTS .............................................11
9. CONTROL ROOM OUTPUTS .....................11
10. PHONES OUTPUTS.................................. 11
11. TAPE OUTPUT ........................................12
12. TAPE INPUT ...........................................12
13. MAIN INSERT ......................................... 12
14. MAIN OUTS .......................................... 12
15. MONO OUTPUT ......................................12
16. MONO LEVEL .........................................13
17. VOLTAGE SELECTOR ................................ 13
18. POWER CONNECTION .............................13
19. FUSE ......................................................13
20. POWER SWITCH .....................................13
21. POWER LED ...........................................13
22. PHANTOM SWITCH ................................13
23. 48V LED ................................................13
24. BNC LAMP SOCKET ................................. 13
CHANNEL STRIP DESCRIPTION
25. CHANNEL FADER ....................................14
26. ASSIGN (1–2, 3–4, L/R) ........................14
27. SOLO .....................................................14
28. –20 (SOLO) LED .....................................15
29. OL (MUTE) LED ....................................... 15
30. MUTE ....................................................15
31. PAN.......................................................15
STEREO SOURCES ................................... 15
CONSTANT LOUDNESS ! ! ! ...................... 16
32. 3-BAND MID-SWEEP EQ ......................... 16
33. 4-BAND FIXED-FREQUENCY EQ ............... 17
34. LOW CUT ..............................................17
35. AUX 1, 2, 3, & 4 .................................... 17
36. PRE ....................................................... 17
OUTPUT SECTION DESCRIPTION
37. MAIN MIX FADER .................................... 18
38. SUBGROUP FADERS ............................... 18
39. ASSIGN TO MAIN MIX ............................ 18
40. TAPE IN (LEVEL) ..................................... 19
41. TAPE TO MAIN MIX ................................ 19
42. CONTROL ROOM SOURCE ...................... 19
43. CONTROL ROOM AND PHONES ............... 19
44. MODE (SOLO AFL/PFL) ...........................20
45. LEVEL SET LED ........................................20
46. SOLO (LEVEL) ......................................... 20
47. RUDE SOLO LIGHT .................................. 20
48. METERS ................................................. 20
METERS VS. REALITY ..............................21
AUX DISCUSSION ................................... 21
49. AUX SENDS (MASTER) ............................ 21
50. AUX SENDS SOLO AND LED..................... 22
51. STEREO RETURNS (LEVEL) ....................... 22
52. TO AUX 1 AND TO AUX 2 ....................... 22
53. MAIN MIX TO SUBS (FOR RETURN 3) ...... 22
54. 1–2/3–4 (FOR RETURN 3) ..................... 22
55. C-R/PHNS ONLY (FOR RETURN 4) .......... 23
56. RETURNS SOLO ...................................... 23
APPENDIX A: SERVICE INFORMATION .................... 24
APPENDIX B: CONNECTIONS..................................25
APPENDIX C: TECHNICAL INFORMATION ................ 28
SPECIFICATIONS ............................................. 28
BLOCK DIAGRAM ............................................ 29
TRACK SHEET..................................................30
1642-VLZ3 LIMITED WARRANTY ........................... 31
Owner’s Manual
5
HOOKUP DIAGRAMS
1642-VLZ3
In
8 T rack Recorder
From Mics, K eys ,
Drum machines
etc.
Out
LR L R
MONO
MAIN
CHANNEL INSERTS
CHANNEL INPUTS
AUX SENDS
BAL/UNBAL
MAIN OUT
INSERT
BAL/UNBAL
BAL/UNBAL
Stereo Compressor
EFX A
EFX B
Stereo Processor
Powered Monitors
Cassette Recorder
Headphones
IN
TAPE
STEREO RETURNS DIRECT OUT
OUT
TAPE
C/R OUT
BAL/UNBAL
BAL/UNBAL
SUB OUTS
OUT
PHONES
Recording System
6
1642-VLZ3
Mic 1-5
Owner’s Manual
Turntable
Guitar
Bass
Keyboard
Drum
Machine
Active
PA Speaker/
Subwoofer
combination
(Pole-mounted
SRM450s and
SRS1500 active
Subwoofers
pictured)
Guitar
Stereo Effects
Phono preamp
Mono Effects
Additional
stereo source
Stereo Processor
CD Player
LR L R
MONO
MAIN
TAPE
TAPE
CHANNEL INPUTS
BAL/UNBAL
MAIN OUT
INSERT
IN
OUT
CHANNEL INSERTS
BAL/UNBAL
DIRECT OUT
and (C300) Passive Stage Monitors
BAL/UNBAL
AUX SENDS
STEREO RETURNS
Stereo Compressors
Mono EQs, M-1400i Amps,
Processor
Processor
C/R OUT
SUB OUTS
Headphones
PHONES
Live Stereo PA System
BAL/UNBAL
OUT
Digital Multitrack
Recorder
Owner’s Manual
7
Patchbay Description
1
1642-VLZ3
2
4
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level instruments
and effects, and the ultimate destination for your sound:
a tape recorder, PA system, etc. Many of the features described in this section are on top of the mixer, but some
are on the rear panel.
See Appendix B for further details and drawings of
the connectors you can use with the 1642-VLZ3. Also see
the Channel Strip description on page 14 for details of
the signal routing from the XLR and Line inputs.
E-Z INTERFACING
Concerned about levels, balancing, imped-
ances, polarity, or other interface goblins?
Don’t be. On your 1642-VLZ3, you can patch anything
almost anywhere, with nary a care. Here’s why:
• Every input and output is balanced (except
inserts, phones and RCA jacks).
• Every input and output will also accept unbalanced lines (except XLR jacks).
• Every input is designed to accept virtually any
output impedance.
• The main left and right mix outputs can deliver
28 dBu into as low as a 600 ohm load.
• All the other outputs can deliver 22 dBu into as
low as a 600 ohm load.
• All the outputs are in phase with the inputs.
All we ask is that you perform the Level- Setting Procedure on page 3, every time you patch in a new sound
source. So stop worrying and start mixing!
MIC AND LINE INPUT FLEXIBILITY
Channels 1-8 are mono channels with MIC [1] and
LINE [2] inputs, featuring our XDR2 Extended Dynamic
Range mic preamp circuitry. Channels 9-10 and 11-12
are stereo pairs with left and right LINE inputs and a
single MIC input feeding each pair. Channels 13-14 and
15-16 are stereo pairs with LINE inputs only.
1. MIC INPUTS
We use phantom-powered, balanced microphone
inputs just like the big studio mega- consoles, for
exactly the same reason: This kind of circuit is excellent at rejecting hum and noise. You can plug in almost
any kind of mic that has a standard XLR-type male mic
connector. Always be sure to perform the Level-Setting
Procedure. If you wire your own connectors, make them
like this:
Pin 1 = ground or shield
Pin 2 = positive (+ or hot)
Pin 3 = negative (– or cold)
Professional ribbon, dynamic, and condenser mics will
all sound excellent through these inputs. The 1642VLZ3’s mic inputs will handle almost any kind of mic
level you can toss at them, without overloading.
Not every instrument is made to connect directly to a
mixer. Guitars commonly need a Direct Injection (DI)
box to connect to the mixer's MIC inputs. These boxes
convert unbalanced line-level signals from your guitar,
into balanced mic-level outputs, and provide signal and
impedance matching. They also let you send your gifted
guitar renditions over long cables or audio snakes, with
minimum interference and high-frequency signal loss.
Ask your dealer or guitar maker about their recommendations for a good DI box.
PHANTOM POWER
Most condenser mics require phantom power, where
the mixer sends low-current DC voltage to the mic’s
electronics through the same wires that carry audio.
The 1642-VLZ3’s phantom power is globally controlled
by the PHANTOM [22] switch on the rear panel.
Semipro condenser mics often have batteries to accomplish the same thing. “Phantom” owes its name to an
ability to be “unseen” by dynamic mics (Shure® SM57/
SM58, for instance) that don’t need external power and
aren’t affected by it.
8
1642-VLZ3
Unless you know for certain it is safe to do
so, never plug single-ended (un bal anced)
microphones, instruments, ribbon mics, or
electronic devices into the MIC [1] input jacks if the
phantom power is on.
2. LINE INPUTS
These 1/4" jacks share circuitry (but not phantom
power) with the mic preamps. You can use these inputs
for virtually any signal you’ll come across, from instrument levels as low as –50 dB to operating levels of –10
dBV to +4 dBu, as there is 45 dB of gain available via the
GAIN [3] knob. Note that channels 1-8 line inputs are
intially attenuated by 15 dB.
Always be sure to perform the Level-Setting Procedure (page 3) when you connect a new input.
To learn how signals are routed from these inputs,
see the details lovingly described in the Channel Strip
section.
To connect balanced lines to these inputs, use a 1/4"
tip-ring-sleeve (TRS) plug, the type found on some
stereo headphones:
Tip = positive (+ or hot)
Ring = negative (– or cold)
Sleeve = shield or ground
To connect unbalanced lines to these inputs, use a
1/4" mono (TS) phone plug or standard instrument
cable:
Tip = signal (+)
Sleeve = ground
This 15 dB of attenuation can be very handy when you
are inserting a signal that is very hot, or you want to add
a lot of EQ gain, or both. Without this “virtual pad,” a
scenario like this might lead to channel clipping.
The GAIN controls for stereo channels 9-10 and 11-12
are only used to adjust the Mic inputs. The line inputs
are set to unity gain.
The GAIN controls for channels 13-14 and 15-16 only
adjust the line-level inputs, as they have no Mic inputs.
4. INSERT
Found only on channels 1–8, these 1/4" unbalanced
jacks are for connecting serial effects processors such
as compressors, equalizers, de-essers, or fi lters. The
insert point is after the GAIN [3] control, but before the
channel’s EQ [32], LOW CUT [34], FADER [25] and
MUTE [30] controls.
Insert cables must be wired thusly:
ring
tip
This plug connects to one of the
mixer’s Channel Insert jacks.
sleeve
(TRS plug)
Tip = send (to effects device input)
Ring = return (from effects device output)
Sleeve = common ground
Even though channels 1–8 already have DIRECT OUT
[5] jacks, INSERT jacks can also be used as channel
direct outputs (as they are post-GAIN, pre-EQ, pre-LOW
CUT, pre-FADER, and pre-MUTE).
SEND to processor
RETURN from processor
“tip”
“ring”
Owner’s Manual
3. GAIN
These controls are not in the patchbay, but
they are the top row of knobs in the channel
3
Through the XLR jack (MIC), there
will be 0 dB of gain with the knob fully
down, ramping to 60 dB of gain fully up.
Through the 1/4" input (LINE), there
is 15 dB of attenuation fully down and 45
dB of gain fully up, with unity gain (U) at 10:00.
strip section. (They are so vitally linked with
the inputs, this seemed like a good place to
describe them.)
Every time you plug something into a
MIC [1] or LINE [2] input jack, you should
perform the Level-Setting Procedure, and that
procedure is basically “how to use the GAIN
knob.”
GAIN adjusts the input sensitivity of the
MIC and LINE inputs. This allows signals
from the outside world to be adjusted to
optimal internal operating levels.
Appendix B, page 27 has a lovely diagram (Figure F)
showing three ways you can use the INSERT jacks.
Owner’s Manual
9
1642-VLZ3
6
5
7 89
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], postFADER [25], and post-MUTE [30]. Use these for recording, making the 1642-VLZ3 perfect for an 8-track studio.
RECORDING
When recording, you use the fi rst 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.
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 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.
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.
10
1642-VLZ3
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.
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