Tape In (Level); Tape To Main Mix; Source; Ctl Room/Phones - Mackie 1604-VLZ PRO Owner's Manual

TAPE IN (LEVEL)

This knob controls the level of the stereo signal
coming from the TAPE INPUT RCA jacks. Its range
is off when fully down, unity at the center detent,
with 20dB additional gain turned fully up, which
may come in handy if you've patched in a
"walkperson" type device with wimpy output levels.
After the TAPE IN level is determined, the stereo
tape signal can be sent to either of two places —
the MAIN MIX or the SOURCE matrix

TAPE TO MAIN MIX

Engaging this switch is just like engaging
the L-R switch on a channel — the signal,
stereo in this case, is sent to the MAIN MIX. It
does not interrupt other signals, just adds itself
to them. This switch can be very handy in a
live sound situation when you want to play
soothing elevator music to an anxious crowd.
WARNING: Engaging
create a feedback path be-
tween
your tape deck is not in record, record-
pause or input monitor mode when you
engage this switch, or that the
level knob is turned fully down.

SOURCE

Typically, the engineer sends the main mix
to an audience (if live) or to a mixdown deck
(if recording). But what if the engineer needs
to hear something other than the main mix?
With the New Improved 1604-VLZ PRO, the en-
gineer has several choices of what to listen to.
This is one of those tricky parts — have a
double espresso first.
Via the SOURCE switches, you can choose to
listen to any combination of MAIN MIX, SUBS
1-2, SUBS 3-4 and TAPE. Selections made in the
SOURCE matrix deliver stereo signals to the
C-R OUTS, PHONES output and meter display.
These signals are tapped after their respective
level controls — post-MAIN MIX fader, post
subgroup faders and post-TAPE IN knob. With
no switches engaged, there will be no signal at
these outputs and no meter indication, with two
exceptions (SOLO and AUX RETURN 4
/
One of those exceptions is the SOLO func-
/ . Regardless of the SOURCE matrix
tion
selection, engaging a SOLO switch will replace
that selection with the SOLO signal, also sent
to the C-R OUTS, PHONES output and meter
display. This is what makes the Level-Setting
Procedure so easy to do.
Now you know how to select the signals you
want to send to the engineer's control room
and/or phones. From there, these signals all pass
through the same level control, aptly named:

CTL ROOM/PHONES

As you might expect, this knob controls the
levels of both the stereo C-R OUTS
PHONES output
off through unity gain at the detent, with 10dB
.
of extra gain (when turned fully clockwise).
When MAIN MIX is your SOURCE selection,
those signals will now pass through two level
controls on the way to your control room amp
and headphones — the MAIN MIX fader and
this CTL ROOM/PHONES knob. This way, you
can send a nice healthy level to the MAIN
OUT jacks (MAIN MIX fader at "U"), and a
quieter level to the C-R OUTS or PHONES
(CTL ROOM/PHONES knob wherever you like
it).
can
Whatever your selection, you can also use the
C-R OUTS for other applications. Its sound
and
quality is just as impeccable as the MAIN OUT
. Make sure
outputs. It can be used as additional main mix
output and this one will have its own level con-
trol. However, should you do this, be aware that
if you engage a SOLO switch, that will interrupt
the mix, as we've already covered
Once again, engaging a SOLO switch
cause this dramatic turn of events: Any existing
SOURCE matrix selections will be replaced by
the SOLO signals, appearing at the C-R OUTS,
PHONES output and at the meter display. The
audible solo levels are controlled by the SOLO
level knob. The SOLO levels appearing on the
meter display
— you wouldn't want that. You want to see the
actual channel level on the meter display,
regardless of how loud you're listening.
).
and
. The control range is from
.
will
are not controlled by anything
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