Aux Send Outputs; Effects: Serial Or Parallel - Mackie 1604-VLZ3 Owner's Manual

multitrack
machine
sound sources
1–8
The outputs of the multitrack are then patched to the
next eight LINE [2] inputs on the 1604-VLZ3 (multi-
track 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 sec-
tion, 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 1604-VLZ3 is a 4-bus
mixer. These buses lead to the SUB OUTS [8], and are
designed to accomplish the task of getting channels to
the multitrack without 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 assign multiple chan-
nels 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)
9–16
direct group
outputs outputs
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 chan-
nels (9–16) and they're listening to the multitrack that
is listening to the source channels. (Make sure to assign
the monitor channels 9-16 to the L/R mix, and not the
source channels 1-8.) 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 cer-
tain that the signals are indeed getting to the multi-
track, since you're constantly listening to it.
Another method of interfacing a multitrack is called
inline monitoring, and requires a dedicated mixing
console, like the Mackie 8•Bus. Each of its channels is
actually two channels: one carrying the mic/line sound
source and the other carrying the multitrack output.

6. AUX SEND OUTPUTS

These 1 / " jacks usually patch to the inputs of your
4
parallel effects devices or to the inputs of your stage
monitor amps. For details see "Aux Talk" on page 23.

EFFECTS: SERIAL OR PARALLEL?

You've heard us carelessly toss around the terms "se-
rial" and "parallel." Here's what we mean by them:
"Serial" means that the entire signal leaves the mixer
(INSERT [4] send), is routed through the effects
device, and returns to the mixer (INSERT return). Ex-
amples: compressor, limiter, graphic equalizer. Line-lev-
el sources can also be patched through a serial effects
device before or after the mixer.
Insert
Send
Signal Processor
(e.g., Compressor)
Dry Signal
"Parallel" means that a portion of the signal in the
mixer is tapped off to the device (AUX SEND [6]), pro-
cessed, and returned to the mixer (STEREO RETURN
[7]) to be mixed with the original "dry" signal. This way,
multiple channels can all make use of the same effects
device. Examples: reverb, digital delay.
Aux
Send
Signal Processor
(e.g., Reverb)
Channel Path
Dry Signal(s)
Insert
Return
Processed
Signal
Aux Output
Return Section
Wet Signal
Mix Processed
Stage Signal
Dry Signal(s)
Owner's Manual
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