DIRECT OUT (on rear panel)
1
Found only on channels 1�8, these /4" jacksThe advantages: You can assign any channel
deliver the signal from the very end of theto any track, without repatching. You can as-
channel path; post-TRIM, post-EQ, post-LOWsign multiple channels to one track and control
CUT, post-fader and post-MUTE. You can usethe overall level of that subgroup . You canOt
these for recording, making the 1642-VLZ PRObounce tracks without this feature.
perfect for an 8-track studio.By returning the outputs of the effects pro-
cessors to 13/14 (EFX A) and 15/16 (EFX B),
RECORDING
you can choose to record or Monitor with ef-
When recording, you use the first two chan-fects.
nels for your sound sources: vocal mics, drumPerhaps the best recording method is a
mics, keyboard/synth outputs, guitar effectscombination of both approaches: Use the SUB
outputs, that sort of thing. From there, theOUTS to feed multichannel submixes (like a
channels manipulate the sound, but are not as-drum kit) to some of the tracks, and the
signed to the output section. Instead, theyOreDIRECT OUT jacks to feed single-channel sig-
patched from the channelOs DIRECT OUT jacksnals (like bass guitar) to the other tracks.
to any of your 8 multitrack inputs. This allowsThe point is that you never listen directly to
recording of two tracks at a time. By recon-the source channels. You listen to the monitor
necting the Direct Outs to the different tapechannels (3�12) and theyOre listening to the mul-
inputs, you can record to all of the 8 tracks.titrack that is listening to the source channels.
Once the tracking is completed, the outputsThe main advantage is that you wonOt be forced to
of the multitrack are then patched to channelsconstantly repatch your multitrack N just set it
3-12 LINE inputs on the 1642-VLZ PRO (multi-up and forget it. YouOll also know for certain that
track out 1 to LINE input 3, 2 to 4, 3 to 5, etc.).the signals are indeed getting to the multitrack,
Aha! ThatOs why it says OTRACK 1� next to chan-since youOre constantly listening to it.
nel 3Os fader, OTRACK 2� next to channel 4, andAnother method of interfacing a multitrack is
so forth. These channels (3�12) will be as-called inline monitoring, and requires a mixing
signed to the mixerOs output section, deliveringconsole dedicated to that, like the Mackie
the signals to their ultimate destination, which8YBus. Each of its channels is actually two chan-
may be your mixdown 2-track, your controlnels: one carrying the mic/line sound source and
room system, or your headphones.the other carrying the multitrack output.
But letOs not forget that the 1642-VLZ PRO is
AUX SEND OUTPUTS
a 4-bus mixer. These buses lead to the SUB
1
OUTS , and are designed to accomplish theThese /4" jacks usually patch to the inputs
task of getting channels to the multitrack with-of your parallel effects devices or to the in-
out using the direct outputs.puts of your stage monitor amps. To learn how
For example, a channel is assigned tosignals are routed to these outputs, see the Aux
SUB OUT 1. SUB OUT 1Os output is patched todiscussion on page 25.
multitrack input 1. From there, the multitrack
output goes to the mixerOs channel 3 LINE input,
as we just discussed. (Hot tip: To feed an 8-
track deck with 4 sub outputs, the 1642-VLZ
PRO has double busing, which simply means
that bus 1 feeds SUB OUT 1 and SUB OUT 5,
bus 2 feeds SUB OUT 2 and SUB OUT 6, bus 3
feeds SUB OUT 3 and SUB OUT 7, and bus 4
feeds SUB OUT 4 and SUB OUT 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.)
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