Mackie 1642VLZ4 Musical Toy Instrument User Manual


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1642VLZ4
1642VLZ4
50. Aux Sends Solo and LED
Onceagain,inlivesoundsituationsauxsend1and
2arelikelytofeedyourstagemonitors.You’llwantto
checkthemixyou’resendingthem,andthat’swhat
thesetwobuttonsarefor.(Aux3and4havenosuch
switch.)BesideeachswitchisagreenLEDthat,just
likethechannel’s–20LED,helpsyoundtheroguesolo
switch.
Theonlythingdifferentaboutauxsendssoloisthat
it’snotreallyPFL(pre-faderlisten),andit’snotreally
SIP(solo-in-place),it’sactuallyAFL(after-fader
listen).DuringAFL[44]mode,you’llgetauxsend1’s
solosignal,post-auxsends[49]masterlevel,intheleft
sideofthecontrolroomoutputs,phonesoutputand
meterdisplay,andauxsend2ontherightside.(Ifyou
everuseaux1and2tocreateastereomonitormix,
you’llunderstandwhy.)InPFLmode,you’llgetthe
signaldead-center,butstillpost-auxsendsmasterlevel.
51. Stereo Returns (Level)
Thesefourcontrolssettheoveralllevelofeffects
receivedfromthestereoreturn[7]inputjacks.These
controlsaredesignedtohandleawiderangeofsignal
levels—eachknobgoesfromoff,tounitygainatthe
detent,to20dBgainfullyclockwise,tocompensatefor
low-leveleffects.Signalspassingthroughtheselevel
controlswillproceeddirectlytothemainmixfader
[37],withexceptionsthatwe’lldiscussinamoment.
Typically,theseknobscanjustliveatthecenter
detent,andtheeffectsdevice’soutputcontrolshould
besetatwhatevertheycallunitygain(checktheir
manual).Ifthatturnsouttobetooloudortooquiet,
adjusttheeffectsdevice’soutputs,notthemixer.
Thatway,themixer’sknobsareeasytorelocate
at the center detent.
52. To Aux 1 and To Aux 2
Ifyouwanttoaddreverbordelaytothestage
monitormixes,thesearetheknobsforyou.
Operatingindependentlyoftheirrespectively
numberedstereoreturns[51]levelcontrols,these
knobsareexactlythesameasthechannelstrip
aux1[35]andaux2knobs.
Thesetwoknobsfeedstereoreturnsignalstotheir
respectiveauxsend[6]outputs:
Toauxsend1feedsstereoreturn1toauxsend1
master,and:
Toauxsend2feedsstereoreturn2toauxsend2
master.
Theyareoffwhenturnedfullydown,deliverunity
gainatthecenterdetent,andcanprovideupto15dB
ofgainturnedfullyup.Stereoreturn3and4haveno
such knobs.
53. Main Mix To Subs (Stereo Return 3)
Withthisswitchup,stereoreturn3behaveslikeall
theothers—itdeliversastereosignal,regulatedby
itslevelknob,tothemainmix.Whenyouengagethis
switch,thesignalsareremovedfromthemainmix
busesandsenttothe1-2/3-4switch,whichdivertsthe
signaloncemore.We’renotnished.Pleasereadon.
54. 1–2/3–4 (Stereo Return 3)
Ifthemainmixtosubs[53]switchisdisengaged,
thisswitchdoesabsolutelynothing.Let’snowassume
it’s engaged. Stereo return 3’s stereo signal will not be
senttothemainmix,buttosubgroupfaders1and2
(thisswitchup)orsubgroupfaders3and4(thisswitch
down).
Let’ssayyou’vemadeastereodrumsubmixon
subgroupfaders1and2,soyoucanridethosetwo
fadersinsteadofthesevenchannelsthatthedrums
camefrom.Subgroupfader1hasitsassigntomain
mix[39],leftbuttonengagedandsubgroupfader2
hasitsassigntomainmix,rightbuttonengaged,
blendingthedrumsubmixbackintothemainmix.
Thedrumchannelsarealsosendingsignalstoyour
reverbviatheauxsends[6],andthereverboutputs
arepatchedintostereoreturn3[7].Sofarsogood.
Even though you could send stereo return 3 directly
tothemainmix(mainmixtosubs[53]switchup),
youdon’twantto.Instead,engagethemainmixtosubs
switchandmakesurethe1–2/3–4switchisup.Nowthe
reverbreturnwillbeblendedintothedrumsubmix,and
asyouridethosetwofaders,thereverblevelwillfollow.
Whydowewantthat?Becauseifyouhadjustsent
thereverbdirectlytothemainmix(mainmixtosubs
switchup)andyoudidadrumfade-outusingsubgroup
faders1and2,the“dry”signalswouldfadeout,butthe
“wet”signalswouldkeeponsinging.Allyouwouldhear
isthedrumreverb(the“wet”),andnoneoftheoriginal
drumsignals(the“dry”).That’sbecausethereverbis
beingfedbythechannel’sauxsends,andtheyhaveno
ideathatyou’vepulleddownthesubgroupfaders.That’s
why we threw in these switches.
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