Mackie CR1604 Owner's Manual download pdf (Page 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

’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,

feeds 2 and

feeds 3 and 7, and

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 su/jointfilesconvert/319773/bgroup

. 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

" 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:

1 2 ... 7 8 9 10 11 12 13 14 15 16 17 ... 50 51

Comments to this Manuals

No comments

Mackie CR1604 Owner's Manual Page 12

Comments to this Manuals

Related products and manuals for Audio mixers Mackie CR1604