18
1642VLZ4
164
2VLZ4
Output Section Description
37
38
40
41
39
You’ve just learned about the input channels and how
the signals get in and out. The signals come in via mic
[1] and line [2] input jacks, are manipulated by the
channels, and then sent to the output section. In the
output section, things get a bit more complicated, so put
on your thinking caps.
37. Main Mix Fader
This fader controls the levels of signals sent to the
main out [14] jacks and tape output [11] RCA jacks.
All channels and stereo returns that are assigned to the
main mix, not muted and not turned fully down will
appear at the main outs. Before the main mix gets to
this fader, the signals pass through the main insert [13].
The main mix signals are off with the fader fully down,
the “U” marking is unity gain, and fully up provides
10 dB additional gain. This additional gain will typically
never be needed, but once again, it’s nice to know
it’s there. The fader itself is a stereo version of the
channel and subgroup faders — same supersmooth
custom taper, same dead silence when turned fully
down. This is the fader to pull down at the end of the
song when you want “The Great Fade-Out.”
38. Subgroup Faders
As you might expect, these faders control the levels of
signals sent to the sub out [8] jacks. All channels that
are assigned to subgroups, not muted and not turned
fully down, will appear at the sub outs. Unlike the main
outs [14], the subgroup signals do not pass through an
insert jack on their way to the subgroup faders. That’s
no problem — should you want to send these signals
through a serial effects processor, simply patch from
the sub outs to the effect’s input, and from the effect’s
output to whatever the final destination is, usually a
multitrack recorder.
The subgroup signal is off when its fader is fully down,
the “U” marking is unity gain, and fully up provides 10
dB additional gain. Remember that if you’re treating
two subgroups as a stereo pair, subgroup 1 and 2 for
example, make sure that both subgroup faders “ride”
together, to maintain the left/right balance.
39. Assign To Main Mix
One popular use of the subgroups is to use them as
master faders for a group of channels on their way to
the main mix. Let’s say you’ve got a drum kit hogging up
seven channels and you’re going to want to fade them
out at a different rate than the other channels. You don’t
want to try that with seven hands or seven fingers, so
just un-assign these channels from L/R, reassign them
to subgroup 1–2, engage the assign to main mix, left on
subgroup 1 and right on subgroup 2. Now you can ride
the entire stereo drum mix with two faders — 1 and 2.
If you engage just one of these switches per subgroup
(left or right), the signal sent to the main mix will be
the same level as the sub outs [8]. If you want a sub
-
group to appear in the center of the main mix, engage
both left and right switches for that subgroup. The
signal will be sent to both sides, and will be attenuated
just enough to preserve constant loudness, just like the
channel pan [31] knobs when set in the center.
