Aux Sends; Effects: Serial Or Parallel - Mackie 1604vlz 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 1604VLZ4
(multitrack out 1 to line input 9, 2 to 10, 3 to 11, etc.).
These channels (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 1604VLZ4 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)
to some of the tracks, and the direct out jacks to feed
single-channel signals (like bass guitar) to the other
tracks.
9–16
direct group
outputs outputs
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 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 dedicated mixing
console. Each of its channels is actually two channels:
one carrying the mic/line sound source and the other
carrying the multitrack output.

6. Aux Sends

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

Effects: Serial Or Parallel?

You've heard us carelessly toss around the terms
"serial" 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]. Examples:
compressor/limiters, graphic equalizers.
Insert Insert
Send Send
Signal Processor Signal Processor
(e.g., Compressor) (e.g., Compressor)
Dry Signal Dry Signal
"Parallel" means that a portion of the signal in the
mixer is tapped off to the device (aux send), processed
Aux Aux
Insert
Send Send
and returned to the mixer (stereo return) to be mixed
Send
Signal Processor
Signal Processor
with the original "dry" signal. This way, multiple Signal Processor
(e.g., Reverb) (e.g., Reverb)
(e.g., Compressor)
Dry Signal
channels can all make use of the same effects device.
Examples: reverb, digital delay.
Channel Path Channel Path
Dry Signal(s) Dry Signal(s)
Aux
Send
Signal Processor
(e.g., Reverb)
Channel Path
Dry Signal(s)
Insert Insert
Return Return
Processed
Processed
Signal Signal
Aux Aux Output Output
Insert
Return Return Section Section
Return
Wet Signal Wet Signal
Processed
Signal
Mix Processed
Mix Processed
Stage Signal
Stage Signal
Dry Signal(s) Dry Signal(s)
Aux Output
Return Section
Wet Signal
Mix Processed
Stage Signal
Dry Signal(s)
Owner's Manual
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