Mackie CR1604-VLZ Скачать руководство пользователя

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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:

C-R/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 L-R MIX

fader

and this

C-R/PHONES

knob. This way, you can

send a nice healthy level to the

MAIN OUT

jacks (

MAIN L-R MIX

fader at “

”), and a qui-

eter level to the

C-R OUTS

PHONES

(

C-R/

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 L-R 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 CR1604-VLZ, the engi-
neer 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