Mackie 1604-VLZ Pro Owner's Manual - Page 23

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 TAPE TO MAIN MIX can create a feedback path between TAPE INPUT and TAPE OUTPUT. Make sure your tape deck is not in record, recordpause or input monitor mode when you engage this switch, or that the TAPE IN 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 engineer 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 function / . Regardless of the SOURCE matrix 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 and PHONES output . The control range is from 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). Whatever your selection, you can also use the C-R OUTS for other applications. Its sound quality is just as impeccable as the MAIN OUT outputs. It can be used as additional main mix output and this one will have its own level control. 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 will 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 are not controlled by anything - you wouldn't want that. You want to see the actual channel level on the meter display, regardless of how loud you're listening. OO MAX CTL ROOM / PHONES TAPE SUBS 1-2 SUBS 3-4 MAIN MIX CTL ROOM SOURCE U LEFT RIGHT 0 dB=0 dBu 28 +20 10 TAPE IN 7 OO 4 TAPE TO 2 MAIN MIX 0 2 OO 4 MAX SOLO LEVEL SET 7 10 MODE NORMAL (AFL) LEVEL SET (PFL) 20 30 RUDE SOLO LIGHT 23