Mackie 1604-VLZ PRO User Manual download pdf (Page 3)

Compact Mixer Reference Guide

APPLICATIONS: CHAPTER 2

Feeding the Recorder

In this setup, we’re using two different ways to feed

signals to the recorder. Tracks 1-4 are fed from the

four su/jointfilesconvert/1253950/bgroup outputs. By using the ASSIGN switches

and PAN pots, those tracks can receive a signal indi-

vidually or in odd-even pairs from any input channel.

We’ve dedicated Tracks 5-8 to what’s plugged into

mixer Channels 5-8 (keyboard and drum machine)

by connecting those recorder inputs to the DIRECT

OUTs for Channels 5-8.

For a cleaner signal path, you might choose to feed

tracks 1-4 from direct outputs. The disadvantage of

this is that if you want to use the same mic —say the

one connected to Channel 1— to record a second vo-

cal track, you’ll need to re-patch things. By using the

sub outputs, all you need to do is turn the PAN pot or

press a different ASSIGN button.

Note that the Onyx has Direct outputs for every

channel, but they’re not on 1/4" jacks like the VLZ-

PRO mixers, but rather on a 25 pin D-subminiature

(DB-25) connector. See Mixer Tips, Chapter 9, for

the wiring diagram of this connector.

There’s nothing sacred about this channel layout,

but we had to pick something to talk about. Adapt

it to your own choice of instruments and tracks.

Incidentally, we show the guitar and bass going to

Line inputs through outboard processors. They could

have just as well been connected to the mic inputs

through direct boxes (DIs) or by placing micro-

phones in front of the ampliﬁ ers.

Direct electric guitar without the help of an ampli-

ﬁ er or processor is kind of wimpy (though sometimes

nice when added to a miked ampliﬁ er, but direct bass

is often quite effective. This is a good time to men-

tion that the Onyx mixers have two direct instrument

inputs on Channels 1 and 2. Just push a button and

plug in an instrument.

Making Tracks

First we’ll describe the most straightforward

procedure using the system as shown in the diagram

– eight sources, eight tracks. Then we’ll do another

take and show you some studio tricks. First, to avoid

an inadvertent feedback path while you’re getting

things organized, pull the faders fully down on Chan-

nels 1-8.

Ready......

The keyboard and drum machine are already

routed directly to tracks. To record the vocals, guitar

and bass, you must ﬁ rst ASSIGN those channels to

SUB OUTs 1-4 using the ASSIGN buttons and PAN

controls.

Channel ASSIGN PAN

1 1-2 L

2 1-2 R

3 3-4 L

4 3-4 R

Here’s the rest of your pre-ﬂ ight checklist:

• Chan 9-16 - ASSIGN L-R

• TRIMs - Unity Gain

• Chan 9-16 PANs - where you want them

• CHANNEL 9-16 FADERs – Unity Gain

• EQs – Flat (all knobs in their centered posi-

tion)

• MAIN MIX FADER – Unity Gain

• SUB FADERs 1-4 – Unity Gain

• CTL ROOM SOURCE – MAIN MIX

• CTL ROOM/PHONES volume – up a bit

Set.....

Perform the Famous Mackie Level-Setting Proce-

dure for all the instruments and mics. Don’t be shy.

When setting levels, sing and play as loud as you will

during a real take. If you’ll be recording parts one at

a time, set levels one at a time. If the whole band will

be playing together, set levels during a run-through.

Now the mixer will be happy, but what about the

recorder?

WARNING: You’re about to send the

recorder outputs to the mixer, which is

connected to the control room speak-

ers, which can be picked up by the mics if they’re in

the same room as the speakers. The mics feed the

recorder, which feeds the speakers, which feeds the

mics, which feeds the recorder.. . . This is why the

loud squeal you hear is called feedback.

If you’re recording with mics in the Con-

trol Room (along with the monitor speak-

ers), you must turn the speakers off – re-

ally off! Switch off the power ampliﬁ er or powered

speakers. Since, in this application, we’re using the

mixer’s headphone jack as a cue feed for the players,

while turning down the CTL ROOM/PHONES control

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Mackie 1604-VLZ PRO User Manual Page 3

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