23
Now you know how to select the signals you
want to send to the engineer’s control room
and/or phones. From there, these signals all pass
through the same level control, aptly named:
CTL ROOM/PHONES
As you might expect, this knob controls the
levels of both the stereo
C-R OUTS
and
PHONES
output
. The control range is from
off through unity gain at the detent, with 10dB
of extra gain (when turned fully clockwise).
When
MAIN MIX
is your
SOURCE
selection,
those signals will now pass through two level
controls on the way to your control room amp
and headphones — the
MAIN MIX
fader and
this
CTL ROOM/PHONES
knob. This way, you
can send a nice healthy level to the
MAIN
OUT
jacks (
MAIN MIX
fader at “
U
”), and a
quieter level to the
C-R OUTS
or
PHONES
(
CTL ROOM/PHONES
knob wherever you like
it).
Whatever your selection, you can also use the
C-R OUTS
for other applications. Its sound
quality is just as impeccable as the
MAIN OUT
outputs. It can be used as additional main mix
output and this one will have its own level con-
trol. However, should you do this, be aware that
if you engage a
SOLO
switch, that will interrupt
the mix, as we’ve already covered .
Once again, engaging a
SOLO
switch
will
cause this dramatic turn of events: Any existing
SOURCE
matrix selections will be replaced by
the
SOLO
signals, appearing at the
C-R OUTS
,
PHONES
output and at the meter display. The
audible solo levels are controlled by the
SOLO
level knob. The
SOLO
levels appearing on the
meter display
are not controlled by anything
— you wouldn’t want that. You want to see the
actual channel level on the meter
display,
regardless of how loud you’re listening.
TAPE IN (LEVEL)
This knob controls the level of the stereo signal
coming from the
TAPE INPUT
RCA jacks. Its range
is off when fully down, unity at the center detent,
with 20dB additional gain turned fully up, which
may come in handy if you’ve patched in a
“walkperson” type device with wimpy output levels.
After the
TAPE IN
level is determined, the stereo
tape signal can be sent to either of two places —
the
MAIN MIX
or the
SOURCE
matrix
.
TAPE TO MAIN MIX
Engaging this switch is just like engaging
the
L-R
switch on a channel — the signal,
stereo in this case, is sent to the
MAIN MIX
. It
does not interrupt other signals, just adds itself
to them. This switch can be very handy in a
live sound situation when you want to play
soothing elevator music to an anxious crowd.
WARNING: Engaging
TAPE TO MAIN MIX
can
create a feedback path be-
tween
TAPE INPUT
and
TAPE OUTPUT
. Make sure
your tape deck is not in record, record-
pause or input monitor mode when you
engage this switch, or that the
TAPE IN
level knob is turned fully down.
SOURCE
Typically, the engineer sends the main mix
to an audience (if live) or to a mixdown deck
(if recording). But what if the engineer needs
to hear something other than the main mix?
With the New Improved 1604-VLZ
PRO, the en-
gineer has several choices of what to listen to.
This is one of those tricky parts — have a
double espresso first.
Via the
SOURCE
switches, you can choose to
listen to any combination of
MAIN MIX
,
SUBS
1-2
,
SUBS 3-4
and
TAPE
. Selections made in the
SOURCE
matrix deliver stereo signals to the
C-R OUTS
,
PHONES
output and meter
display.
These signals are tapped after their respective
level controls — post-
MAIN MIX
fader, post
subgroup faders and post-
TAPE IN
knob. With
no switches engaged, there will be no signal at
these outputs and no meter indication, with two
exceptions
(SOLO
/
and
AUX RETURN 4
).
One of those exceptions is the
SOLO
func-
tion
/
. Regardless of the
SOURCE
matrix
selection, engaging a
SOLO
switch will replace
that selection with the
SOLO
signal, also sent
to the
C-R OUTS
,
PHONES
output and meter
display. This is what makes the
Level-Setting
Procedure
so easy to do.
LEFT RIGHT
TAPE IN
SOLO
RUDE
SOLO
LIGHT
CTL ROOM / PHONES
SUBS 3–4
SUBS 1–2
MAIN MIX
CTL ROOM
SOURCE
TAPE
TAPE TO
MAIN MIX
28
10
7
4
2
2
0
4
7
10
20
30
LEVEL
SET
MODE
(AFL)
LEVEL SET
NORMAL
(PFL)
U
O
O
+20
O
O
O
O
MAX
0 dB=0 dBu
MAX
