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1604VLZ4
1604VLZ4
4. Insert
These unbalanced 1/4" jacks are for connecting serial
effects processors such as compressors, equalizers,
de-essers, or filters. The insert point is after the gain
[3] control, but before the channel’s EQ [32], low cut
[33], fader [25] and mute [30] controls. Insert cables
must be wired thusly:
Tip = send (output to effects device)
Ring =
return (input from effects device)
Sleeve =
common ground
Even though channels 1–8 already have direct out [5]
jacks , insert jacks can also be used as channel direct
outputs; post-gain, pre-low cut, and pre-EQ. See the
connector section on page 29 showing three ways to use
insert cables.
5. Direct Out
Found only on channels 1–8, these balanced 1/4"
jacks deliver the signal from the very end of the channel
path; post-gain [3], post-EQ [32], post-low cut [33],
post-fader [25], and post-mute [30]. They are the key
player in “split monitoring,” making the 1604VLZ4
perfect for an 8-track studio.
Split Monitoring
With split monitoring, you use the first eight
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 the corresponding
multitrack input (direct out 1 to multitrack input 1, 2 to
2, 3 to 3, etc.). The signals will now be recorded or pass
directly through the multitrack, depending on each
track’s record-ready status.
tip
This plug connects to one of the
mixer’s Channel Insert jacks.
ring
tip
ring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
multitrack
machine
sound sources
direct
outputs
group
outputs
1–8
9–16
2. Line Ins
These 1/4" jacks share circuitry (but not phantom
power) with the mic preamps, and can be driven by
balanced or unbalanced sources at almost any level.
You can use these inputs for virtually any signal you’ll
come across, from instrument levels as low as –50 dBu,
to operating levels of –10 dBV to +4 dBu, since there
is –15 to +45 dB of gain (60 dB range) available for
line inputs via the gain [3] knob. Always make sure
to perform the level setting procedure on page 5.
To connect balanced lines to these inputs, use
a 1⁄4" Tip-Ring-Sleeve (TRS) plug, wired as follows:
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, wired as follows:
Tip = Positive (+ or hot)
Sleeve = Shield or ground
3. Gain
Yes it’s true, these controls are not in the patchbay
section at all. They’re found along the top row of
knobs in the channel strip section. But their purpose
is so closely linked with the mic and line input jacks
that we couldn’t bear to separate them. If you haven’t
already, please read the level-setting procedure on
page 5.
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.
If the signal originates through the XLR jack, 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, there is 20 dB of attenuation
fully down and 40 dB of gain fully up, with a “U” (unity
gain) mark at 10:00. This 20 dB of attenuation can be
very handy when you are inserting a very hot signal, or
when you want to add a lot of EQ gain, or both. Without
this “virtual pad,” this scenario might lead to channel
clipping.
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