Summary of the content on the page No. 1
APPLICATIONS: CHAPTER 2
8-Track Recording Applications
1604-VLZ PRO, 1642-VLZ PRO, and Onyx 1640
Mic 1-2
Guitar
Bass
Processors
Stereo Compressor
Keyboard
Drum Machine
Multi-track
Digital Recorder
Stereo Compressor
and Stereo EQ
Stereo Tape Deck
HR824s or
Reverb
other Powered
Studio Monitors Delay
Mono in
Stereo out
Headphones
67
Compact Mixer Reference Guide
STEREO MONO
PHONES SUB OUTS C/R OUT TAPE TAPE MAIN MAIN OUT
BAL/UNBAL BAL/UNBAL BAL/UNBAL 4 3 2 1
OUT OUT IN INSERT CHANNEL INPUTS
Summary of the content on the page No. 2
APPLICATIONS: CHAPTER 2 These 4-Bus mixers are well suited for 8-track 2-Track Mixdown Recorder recording applications. They’re compact enough to fi t The mixdown (Cassette/DAT) recorder is con- on a desktop and fl exible enough to provide real pro nected to the RCA TAPE OUT jacks, which deliver studio features. We’ll describe a multitrack recording the MAIN L/R mix at a level of 0 dBV. If you have setup using a 1604-VLZ PRO and point out the few dif- a mixdown recorder that operates at “pro
Summary of the content on the page No. 3
APPLICATIONS: CHAPTER 2 and bass, you must fi rst ASSIGN those channels to Feeding the Recorder SUB OUTs 1-4 using the ASSIGN buttons and PAN In this setup, we’re using two different ways to feed controls. signals to the recorder. Tracks 1-4 are fed from the four subgroup outputs. By using the ASSIGN switches Channel ASSIGN PAN and PAN pots, those tracks can receive a signal indi- 1 1-2 L vidually or in odd-even pairs from any input channel. 2 1-2 R We’ve dedicated Tracks 5-8 to what’s plu
Summary of the content on the page No. 4
APPLICATIONS: CHAPTER 2 will prevent feedback in the monitor speakers, it will properly, because all the recorder returns will be also kill the cue mix to the musicians in the studio. If coming in at the same level relative to their inputs. the live mic is in another room (like the studio), or Once all your tracks are recorded, you’ll want to re- quite far away from the speakers, you’re safe. check the TRIMs individually before doing the fi nal mixdown. Set the recorder to Input Monitor mode (
Summary of the content on the page No. 5
APPLICATIONS: CHAPTER 2 Do the vocals need some reverb? With AUX RETURN 2 set to its Unity Gain position, turn up AUX SEND 4 on the vocal tracks. Remember, you’re working with mixer channels 9-16 now, so turn up Aux Send 4 on channels 9 and 10. Need some delay on the guitar? The delay is waiting for you to turn up AUX 3 on Channel 11. If you want to compress the bass track, unplug the compressor from INSERT 1 and plug it into INSERT 12. Keep an eye on the LEFT/RIGHT meters as you’re m
Summary of the content on the page No. 6
APPLICATIONS: CHAPTER 2 1604-VLZ PRO 8-Track Recording, take 2 Mic 1-2 Guitar Bass Processors Stereo Compressor Keyboard Drum Machine Multi-track Digital Recorder Y-Split for Double Bussing Stereo Compressor and Stereo EQ Headphone amp Stereo Tape Deck Delay Reverb HR824s or other Powered Studio Monitors Headphones 72 Compact Mixer Reference Guide 16 15 14 13 12 11 10 9 STEREO MONO 8 7 6 PHONES SUB OUTS C/R OUT TAPE TAPE MAIN MAIN OUT BAL/UNBAL BAL/UNBAL BAL/UNBAL 5 4 3 2 1 OUT OUT IN INSE
Summary of the content on the page No. 7
APPLICATIONS: CHAPTER 2 What we’ll do is record the rhythm section, then About Bouncing Tracks bounce that to two tracks, and record lead parts over If you like to build up a lot of layers in your record- the original rhythm tracks. Here’s how this works. ing, a quintuple-tracked guitar lead, for example, Pass 1 when using an 8-track recorder, you’ll have to do a lot of track bouncing. What this means is that you We’re still using Channels 9-16 for our recorder record several parts (which
Summary of the content on the page No. 8
APPLICATIONS: CHAPTER 2 in stereo, but it wouldn’t illustrate the next point, so ing to an adjacent track due to coupling between give us a break while we’re in teaching mode. tracks right at the record head. This is never a problem with a digital recorder or DAW, and almost It’s time for some housekeeping. We’re done with never a problem with a standard track width analog the drums, bass, and guitar for a while, so un-as- recorder (1" 8-track) but it’s something you should sign them from
Summary of the content on the page No. 9
APPLICATIONS: CHAPTER 2 To create an independent headphone mix, for 16 Tracks on the 1604-VLZ PRO or Onyx example, for the lead singer that’s heavy on vocals 1640? and bass but has just enough of the drums so he can keep in time, adjust the AUX 2 knobs on the recorder Sure, why not? After all, they’re sixteen channel return channels to make the singer happy. You’ll mixers. Remembering that a channel INSERT is both probably want that headphone mix to be pre-fader so an output and an inpu
Summary of the content on the page No. 10
APPLICATIONS: CHAPTER 2 1642-VLZ PRO 8-Track Recording Stereo Processor In 8 Track Recorder Out From Mics, Keys, Drum machines, etc. EFX A Stereo Processor EFX B Mixdown Recorder From Sub Outs Bal/Unbal Powered Studio Monitors Headphones 1 Headphones 2 76 Compact Mixer Reference Guide 10/11 9/10 SUB OUTS MONO L R L R 8 7 6 PHONES C/R OUT TAPE TAPE MAIN MAIN OUT BAL/UNBAL BAL/UNBAL OUT OUT IN INSERT 5 4 3 2 1 CHANNEL INPUTS AUX RETURNS AUX SENDS DIRECT OUT CHANNEL INSERTS BAL/UNBAL BAL/UNBAL 2 1
Summary of the content on the page No. 11
APPLICATIONS: CHAPTER 2 The 1642-VLZ PRO has a lot in common with the A Purist’s Recording Path 1604. This hookup shows the 1642-VLZ PRO set up for For recording with the minimum electronics in 8-Track recording with split monitoring and using the the signal path, you’ll want to patch channel direct built-in double-bussing feature on the SUB outputs. outputs or insert outputs directly to the recorder Refer to the 1604 operating procedures for a how-to- inputs. Of course you can always con
Summary of the content on the page No. 12
APPLICATIONS: CHAPTER 2 Notes 78 Compact Mixer Reference Guide
