Mackie 1642-VLZ PRO User Manual

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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

 

 

 

 

Guitar

Bass

 

 

Processors

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1

1

2

2

3

 

4

 

Stereo Compressor

Keyboard

Drum Machine

CHANNEL INPUTS

CHANNEL INSERTS

4 3 2 1

Stereo Compressor

MAINOUT

BAL/UNBAL

DIRECTOUT BAL/UNBAL

8 7 6 5

 

STEREOMONO

 

and Stereo EQ

 

 

 

 

 

 

TAPEMAIN IN INSERT

AUXSENDS BAL/UNBAL

1

 

 

2

4

 

 

 

 

 

3

Stereo Tape Deck

 

 

 

 

 

 

 

 

 

5

 

 

TAPE OUT

 

6

 

 

C/ROUT BAL/UNBAL

1

R

 

 

 

 

 

L

 

HR824s or

OUTSSUB

BAL/UNBAL

RETURNSAUX 3 2

 

 

other Powered

 

 

 

 

 

Studio Monitors

 

 

 

 

 

Headphones

PHONES

OUT

4

 

 

 

 

 

 

 

Multi-track

Digital Recorder

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 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 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.

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.

 

 

 

 

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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? 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 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.

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.

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 amplifiers.

Direct electric guitar without the help of an amplifier or processor is kind of wimpy (though sometimes nice when added to a miked amplifier, 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

APPLICATIONS: CHAPTER 2

and bass, you must first 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-flight 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

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 Con-

trol Room (along with the monitor speakers), you must turn the speakers off – re-

ally off! Switch off the power amplifier 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 official method. You can get away with this if you set the record level

 

 

 

 

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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 final 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 first 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 first 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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