10
1642VLZ4
164
2VLZ4
5. Direct Outs
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 [34],
post-fader [25], and post-mute [30]. Use these for
recording, making the 1642VLZ4 perfect for an 8-track
studio.
Recording
When recording, you use the first two 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 any
of your 8 multitrack inputs. This allows recording of
two tracks at a time. By reconnecting the direct outs
to the different tape inputs, you can record to all of
the 8 tracks.
Once the tracking is completed, the outputs of the
multitrack are then patched to channels 3-12 line [2]
inputs on the 1642VLZ4 (multitrack out 1 to line input
3, 2 to 4, 3 to 5, etc.). These channels (3–12) will be
assigned to the mixer’s output section, delivering the
signals to their ultimate destination, which may be a
mixdown 2-track, control room system, or headphones.
But let’s not forget that the 1642VLZ4 is a 4-bus mixer.
These buses lead to the sub outs [8], and are designed
to accomplish the task of getting channels to the
multitrack without using the direct outputs.
For example, a channel is assigned to sub out 1.
Sub out 1’s output is patched to multitrack input 1.
From there, the multitrack output goes to the mixer’s
channel 3 line input, as we just discussed.
Double Busing
How on earth do you get four jacks to feed eight
tracks? To feed an 8-track deck with only four sub outs,
simply use four Y-cords:
• Sub Out 1 feeds tracks 1 and 5
• Sub Out 2 feeds tracks 2 and 6
• Sub Out 3 feeds tracks 3 and 7
• Sub Out 4 feeds tracks 4 and 8
Tracks in record mode will accept the signal, and
tracks in safe mode will ignore the signal. It’s that easy.
This method is exactly the same as the
double- busing feature found in other mixers.
Built-in double-busing is nothing more than
Y-cords living inside the mixer instead of hanging out
the back. Sonically, there is no difference.
The advantages: You can assign any channel to any
track, without repatching. You can assign multiple chan
-
nels to one track and control the overall level of that
subgroup. You can’t bounce tracks without this feature.
By returning the outputs of the effects processors to
13/14 (EFX A) and 15/16 (EFX B), you can choose to
record or monitor with effects.
Perhaps the best recording method is a combination
of both approaches: Use the sub outs to feed
multichannel submixes (like a drum kit) to some
of the tracks, and the direct out jacks to feed single-
channel signals (like bass guitar) to the other tracks.
The point is that you never listen directly to the
source channels. You listen to the monitor channels
(3–12) and they’re listening to the multitrack that is
listening to the source channels. The main advantage
is that you won’t be forced to constantly repatch your
multitrack — just set it up and forget it. You’ll also
know for certain that the signals are indeed getting to
the multitrack, since you’re constantly listening to it.
Another method of interfacing a multitrack is called
in-line monitoring which requires a dedicated mixing
console. Each of its channels is actually two channels:
one carrying the mic/line sound source and the other
carrying the multitrack output.
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