12
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
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 re-
corded or pass directly through the multitrack,
depending on each track’s record-ready status.
multitrack
machine
sound sources
direct
outputs
group
outputs
1–8
9–16
The outputs of the multitrack are then
patched to the next eight
LINE
inputs on the
CR1604-VLZ (multitrack out 1 to
LINE
input 9,
2 to 10, 3 to 11, etc.). Aha! That’s why it says
“
TRACK 1
” next to channel 9’s fader, “
TRACK 2
”
next to channel 10, and so forth. These chan-
nels (9–16) will be assigned to the mixer’s
output section, delivering the signals to their
ultimate destination, which may be your
mixdown 2-track, your control room system,
or your headphones.
But let’s not forget that the CR1604-VLZ is a
4-bus mixer. These buses lead to the
SUB
OUTS
, and are designed to accomplish the
task of getting channels to the multitrack with-
out 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 9
LINE
input,
as we just discussed. (Hot tip: To feed an 8-track
deck with 4 sub outputs, simply use Y-cords:
SUB OUT 1
feeds tracks 1 and 5,
2
feeds 2 and
6,
3
feeds 3 and 7, and
4
feeds 4 and 8. Tracks in
record mode will accept the signal, and tracks in
safe mode will ignore the signal.)
The advantages: You can assign any channel
to any track, without repatching. You can as-
sign multiple channels to one track and control
the overall level of that subgroup
. You can’t
bounce tracks without this feature.
Perhaps the best method is to do both: 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 (1–8). You listen to the
monitor channels (9–16) 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 inline monitoring, and requires a mixing
console dedicated to that, like the Mackie
8•Bus. Each of its channels is actually two chan-
nels: one carrying the mic/line sound source and
the other carrying the multitrack output.
AUX SEND OUTPUTS
These
1
/
4
" jacks usually patch to the inputs
of your parallel effects devices
or to the in-
puts of your stage monitor amps. To learn how
signals are routed to these outputs: .
To wire
your own cables:
.
