Mackie 1642-VLZ PRO User Manual
APPLICATIONS: CHAPTER 2
8-Track Recording Applications
1604-VLZ PRO, 1642-VLZ PRO, and Onyx 1640
Mic 1-2
Bass
Guitar
Processors
Keyboard
Drum Machine
1234
1
2
CHANNEL INPUTS
CHANNEL INSERTS
12
345678
Stereo Compressor
Multi-track
Digital Recorder
Stereo Compressor
and Stereo EQ
Stereo Tape Deck
HR824s or
other Po wered
Studio Monitors
Headphones
MONOSTEREO
MAIN OUT
MAIN
TAPE
TAPE
C/R OUT
SUB OUTS
PHONES
DIRECT OUT
BAL/UNBAL
INSERT
IN
AUX SENDS
OUT
BAL/UNBAL
AUX RETURNS
BAL/UNBAL
OUT
BAL/UNBAL
1
2
BAL/UNBAL
56
L
1
R
234
3
4
Reverb
Delay
Mono in
Stereo out
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APPLICATIONS: CHAPTER 2
These 4-Bus mixers are well suited for 8-track
recording applications. They’re compact enough to fi t
on a desktop and fl exible 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 multitrack 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.
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 fi nal
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
fi nal compressor and/or EQ when you’re ready to do
your fi nal mix. Their action could be misleading while
you’re tracking.
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 (assigned 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 amplifi er 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.
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? Nothing, 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 fi nd. 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.
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Compact Mixer Reference Guide
APPLICATIONS: CHAPTER 2
Feeding the Recorder
In this setup, we’re using two different ways to feed
signals to the recorder. Tracks 1-4 are fed from the
four subgroup outputs. By using the ASSIGN switches
and PAN pots, those tracks can receive a signal individually or in odd-even pairs from any input channel.
We’ve dedicated Tracks 5-8 to what’s plugged into
mixer Channels 5-8 (keyboard and drum machine)
by connecting those recorder inputs to the DIRECT
OUTs for Channels 5-8.
For a cleaner signal path, you might choose to feed
tracks 1-4 from direct outputs. The disadvantage of
this is that if you want to use the same mic —say the
one connected to Channel 1— to record a second vocal track, you’ll need to re-patch things. By using the
sub outputs, all you need to do is turn the PAN pot or
press a different ASSIGN button.
Note that the Onyx has Direct outputs for every
channel, but they’re not on 1/4" jacks like the VLZPRO mixers, but rather on a 25 pin D-subminiature
(DB-25) connector. See Mixer Tips, Chapter 9, for
the wiring diagram of this connector.
and bass, you must fi rst ASSIGN those channels to
SUB OUTs 1-4 using the ASSIGN buttons and PAN
controls.
Channel ASSIGN PAN
1 1-2 L
2 1-2 R
3 3-4 L
4 3-4 R
Here’s the rest of your pre-fl ight checklist:
• Chan 9-16 - ASSIGN L-R
• TRIMs - Unity Gain
• Chan 9-16 PANs - where you want them
• CHANNEL 9-16 FADERs – Unity Gain
• EQs – Flat (all knobs in their centered position)
• MAIN MIX FADER – Unity Gain
• SUB FADERs 1-4 – Unity Gain
There’s nothing sacred about this channel layout,
but we had to pick something to talk about. Adapt
it to your own choice of instruments and tracks.
Incidentally, we show the guitar and bass going to
Line inputs through outboard processors. They could
have just as well been connected to the mic inputs
through direct boxes (DIs) or by placing microphones in front of the amplifi ers.
Direct electric guitar without the help of an amplifi er or processor is kind of wimpy (though sometimes
nice when added to a miked amplifi er, but direct bass
is often quite effective. This is a good time to mention that the Onyx mixers have two direct instrument
inputs on Channels 1 and 2. Just push a button and
plug in an instrument.
Making Tracks
First we’ll describe the most straightforward
procedure using the system as shown in the diagram
– eight sources, eight tracks. Then we’ll do another
take and show you some studio tricks. First, to avoid
an inadvertent feedback path while you’re getting
things organized, pull the faders fully down on Channels 1-8.
Ready......
The keyboard and drum machine are already
routed directly to tracks. To record the vocals, guitar
• CTL ROOM SOURCE – MAIN MIX
• CTL ROOM/PHONES volume – up a bit
Set.....
Perform the Famous Mackie Level-Setting Procedure for all the instruments and mics. Don’t be shy.
When setting levels, sing and play as loud as you will
during a real take. If you’ll be recording parts one at
a time, set levels one at a time. If the whole band will
be playing together, set levels during a run-through.
Now the mixer will be happy, but what about the
recorder?
WARNING: You’re about to send the
recorder outputs to the mixer, which is
connected to the control room speak-
ers, which can be picked up by the mics if they’re in
the same room as the speakers. The mics feed the
recorder, which feeds the speakers, which feeds the
mics, which feeds the recorder.. . . This is why the
loud squeal you hear is called feedback.
If you’re recording with mics in the Control Room (along with the monitor speakers), you must turn the speakers off – re-
ally off! Switch off the power amplifi er or powered
speakers. Since, in this application, we’re using the
mixer’s headphone jack as a cue feed for the players,
while turning down the CTL ROOM/PHONES control
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APPLICATIONS: CHAPTER 2
will prevent feedback in the monitor speakers, it will
also kill the cue mix to the musicians in the studio. If
the live mic is in another room (like the studio), or
quite far away from the speakers, you’re safe.
Set the recorder to Input Monitor mode (or Auto
Input Monitor with all of its Record Ready buttons
pressed) and you should see the recorder’s meters
move as you play.
If you’re using a computer as your recorder, you’ll
have to locate those virtual buttons yourself. Check
the manual – there may be an “input monitor” button
on the track portion of the screen, or it may be in
a separate control panel. Some newer DAW programs come closer to emulating the behavior of a
multitrack recorder and actually have a “multitrack
recorder monitor” mode, which accurately mimics
the monitor switching of a multitrack recorder.
If the record levels on all channels look about right
when you’re wailin’, you’re good to go. But what if
they aren’t?
Used to be that all recorders had input level
controls, but today many (and this includes most
sound cards) don’t. If your recorder has input level
controls, use them to adjust the record level according to the recorder’s instructions. If not, you’ll need
to make adjustments from the mixer.
If the recording level is much too high, this is
because the recorder is expecting a semi-pro level
signal and your Mackie is sending to it at pro level.
You can lower the faders on channels 1-8 to adjust
the level going to the recorder.
If you need to raise the record level, as you may
with a less sensitive sound card, listen carefully for
distortion. When you push the faders up past unity
gain, you’ll be running closer to the clipping point
of the mixer channel. Remember, particularly with
digital recorders, it’s better to set the record level
conservatively than to risk distortion. See the metering discussion in the Tips section for some hints on
setting levels and why you need not worry if you can’t
turn on all the meter lights all the time.
There’s one more set of TRIMS to adjust, and those
are on Channels 9-16, the Recorder Return channels.
With the band playing and the recorder still set for
Input monitoring, perform the Level-Setting Procedure on channels 9-16. You can cheat a little here
– set one TRIM using the SOLO button, then set all
the rest of the Recorder Return TRIMs to the same
position as the one you set using the offi cial method.
You can get away with this if you set the record level
properly, because all the recorder returns will be
coming in at the same level relative to their inputs.
Once all your tracks are recorded, you’ll want to recheck the TRIMs individually before doing the fi nal
mixdown.
This sounds complicated, but in reality, once you
get the hang of it, the procedure it takes less time to
do it than to read about it.
Go......!
Now for the easy part. Start the recorder and play
like you’ve never played before. Then rewind, press
Play, and be amazed at your musical talent.
If you’re a one-person band, you’ll be recording
tracks in multiple passes (which is probably why you
wanted to get into multitrack recording in the fi rst
place).
Keep your wits about you. Once you’ve recorded a
track, don’t forget to switch the recorder out of Record Ready, so you don’t erase the track on the next
pass. And if you’re recording successive passes with
the same mic, remember to assign it to the next track
using the mixer’s PAN and ASSIGN.
When recording the second pass, if you did everything correctly, you should hear your fi rst pass playing back. This gives you something to play along to.
Pretty soon you’ll be overdubbing just like a pro. Use
Channels 9-16 to adjust the mix that you’re listening
to while overdubbing.
Don’t forget the warning about mics getting too
close to speakers. You can record keyboards, drum
machines, and electric instruments while listening
to the control room monitor speakers, but when it
comes time to record the vocals or acoustic guitar
tracks, kill the control room speakers and plug in the
headphones.
Mixdown
A really cool thing about this setup is that you’re
ready to mix at any time. No cables to patch, no buttons to press. In fact, you were probably doing some
panning, level adjustments, and maybe some EQing
of the recorder return channels as you were tracking.
These are all elements of mixing and the more you
do it, the better you get. For now, the most important
thing is to learn how to use the tools.
If it sounds great just the way it is, mixdown is as
simple as checking the record level and pressing the
Record button on the 2-track recorder.
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