Mackie Musical Instrument 1604 VLZ PRO User Manual

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  
other Powered  
Studio Monitors  
Reverb  
Delay  
Mono in  
Stereo out  
Headphones  
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APPLICATIONS: CHAPTER 2  
and bass, you must first ASSIGN those channels to  
SUB OUTs 1-4 using the ASSIGN buttons and PAN  
controls.  
Feeding the Recorder  
In this setup, were using two different ways to feed  
signals to the recorder. Tracks 1-4 are fed from the  
four subgroup outputs. By using the ASSIGN switches  
and PAN pots, those tracks can receive a signal indi-  
vidually or in odd-even pairs from any input channel.  
Weve dedicated Tracks 5-8 to whats plugged into  
mixer Channels 5-8 (keyboard and drum machine)  
by connecting those recorder inputs to the DIRECT  
OUTs for Channels 5-8.  
Channel  
ASSIGN  
1-2  
PAN  
L
1
2
3
4
1-2  
R
3-4  
L
3-4  
R
Heres the rest of your pre-flight checklist:  
For a cleaner signal path, you might choose to feed  
tracks 1-4 from direct outputs. The disadvantage of  
this is that if you want to use the same mic —say the  
one connected to Channel 1— to record a second vo-  
cal track, youll need to re-patch things. By using the  
sub outputs, all you need to do is turn the PAN pot or  
press a different ASSIGN button.  
Chan 9-16 - ASSIGN L-R  
TRIMs - Unity Gain  
Chan 9-16 PANs - where you want them  
CHANNEL 9-16 FADERs – Unity Gain  
EQs – Flat (all knobs in their centered posi-  
tion)  
Note that the Onyx has Direct outputs for every  
channel, but theyre not on 1/4" jacks like the VLZ-  
PRO mixers, but rather on a 25 pin D-subminiature  
(DB-25) connector. See Mixer Tips, Chapter 9, for  
the wiring diagram of this connector.  
MAIN MIX FADER – Unity Gain  
SUB FADERs 1-4 – Unity Gain  
CTL ROOM SOURCE – MAIN MIX  
CTL ROOM/PHONES volume – up a bit  
Theres nothing sacred about this channel layout,  
but we had to pick something to talk about. Adapt  
it to your own choice of instruments and tracks.  
Incidentally, we show the guitar and bass going to  
Line inputs through outboard processors. They could  
have just as well been connected to the mic inputs  
through direct boxes (DIs) or by placing micro-  
phones in front of the amplifiers.  
Set.....  
Perform the Famous Mackie Level-Setting Proce-  
dure for all the instruments and mics. Dont be shy.  
When setting levels, sing and play as loud as you will  
during a real take. If youll be recording parts one at  
a time, set levels one at a time. If the whole band will  
be playing together, set levels during a run-through.  
Direct electric guitar without the help of an ampli-  
fi er or processor is kind of wimpy (though sometimes  
nice when added to a miked amplifier, but direct bass  
is often quite effective. This is a good time to men-  
tion that the Onyx mixers have two direct instrument  
inputs on Channels 1 and 2. Just push a button and  
plug in an instrument.  
Now the mixer will be happy, but what about the  
recorder?  
WARNING: Youre about to send the  
recorder outputs to the mixer, which is  
connected to the control room speak-  
Making Tracks  
ers, which can be picked up by the mics if theyre in  
the same room as the speakers. The mics feed the  
recorder, which feeds the speakers, which feeds the  
mics, which feeds the recorder.. . . This is why the  
loud squeal you hear is called feedback.  
First well describe the most straightforward  
procedure using the system as shown in the diagram  
– eight sources, eight tracks. Then well do another  
take and show you some studio tricks. First, to avoid  
an inadvertent feedback path while youre getting  
things organized, pull the faders fully down on Chan-  
nels 1-8.  
If youre recording with mics in the Con-  
trol Room (along with the monitor speak-  
ers), you must turn the speakers off – re-  
ally off! Switch off the power amplifier or powered  
speakers. Since, in this application, were using the  
mixers headphone jack as a cue feed for the players,  
while turning down the CTL ROOM/PHONES control  
Ready......  
The keyboard and drum machine are already  
routed directly to tracks. To record the vocals, guitar  
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APPLICATIONS: CHAPTER 2  
will prevent feedback in the monitor speakers, it will  
also kill the cue mix to the musicians in the studio. If  
the live mic is in another room (like the studio), or  
quite far away from the speakers, youre safe.  
properly, because all the recorder returns will be  
coming in at the same level relative to their inputs.  
Once all your tracks are recorded, youll want to re-  
check the TRIMs individually before doing the final  
mixdown.  
Set the recorder to Input Monitor mode (or Auto  
Input Monitor with all of its Record Ready buttons  
pressed) and you should see the recorders meters  
move as you play.  
This sounds complicated, but in reality, once you  
get the hang of it, the procedure it takes less time to  
do it than to read about it.  
If youre using a computer as your recorder, youll  
have to locate those virtual buttons yourself. Check  
the manual – there may be an input monitor” button  
on the track portion of the screen, or it may be in  
a separate control panel. Some newer DAW pro-  
grams come closer to emulating the behavior of a  
multitrack recorder and actually have a multitrack  
recorder monitor” mode, which accurately mimics  
the monitor switching of a multitrack recorder.  
Go......!  
Now for the easy part. Start the recorder and play  
like youve never played before. Then rewind, press  
Play, and be amazed at your musical talent.  
If youre a one-person band, youll be recording  
tracks in multiple passes (which is probably why you  
wanted to get into multitrack recording in the first  
place).  
If the record levels on all channels look about right  
when youre wailin, youre good to go. But what if  
they arent?  
Keep your wits about you. Once youve recorded a  
track, dont forget to switch the recorder out of Re-  
cord Ready, so you dont erase the track on the next  
pass. And if youre recording successive passes with  
the same mic, remember to assign it to the next track  
using the mixers PAN and ASSIGN.  
Used to be that all recorders had input level  
controls, but today many (and this includes most  
sound cards) dont. If your recorder has input level  
controls, use them to adjust the record level accord-  
ing to the recorders instructions. If not, youll need  
to make adjustments from the mixer.  
When recording the second pass, if you did every-  
thing correctly, you should hear your first pass play-  
ing back. This gives you something to play along to.  
Pretty soon youll be overdubbing just like a pro. Use  
Channels 9-16 to adjust the mix that youre listening  
to while overdubbing.  
If the recording level is much too high, this is  
because the recorder is expecting a semi-pro level  
signal and your Mackie is sending to it at pro level.  
You can lower the faders on channels 1-8 to adjust  
the level going to the recorder.  
Dont forget the warning about mics getting too  
close to speakers. You can record keyboards, drum  
machines, and electric instruments while listening  
to the control room monitor speakers, but when it  
comes time to record the vocals or acoustic guitar  
tracks, kill the control room speakers and plug in the  
headphones.  
If you need to raise the record level, as you may  
with a less sensitive sound card, listen carefully for  
distortion. When you push the faders up past unity  
gain, youll be running closer to the clipping point  
of the mixer channel. Remember, particularly with  
digital recorders, its better to set the record level  
conservatively than to risk distortion. See the meter-  
ing discussion in the Tips section for some hints on  
setting levels and why you need not worry if you cant  
turn on all the meter lights all the time.  
Mixdown  
A really cool thing about this setup is that youre  
ready to mix at any time. No cables to patch, no but-  
tons to press. In fact, you were probably doing some  
panning, level adjustments, and maybe some EQing  
of the recorder return channels as you were tracking.  
These are all elements of mixing and the more you  
do it, the better you get. For now, the most important  
thing is to learn how to use the tools.  
Theres one more set of TRIMS to adjust, and those  
are on Channels 9-16, the Recorder Return channels.  
With the band playing and the recorder still set for  
Input monitoring, perform the Level-Setting Proce-  
dure on channels 9-16. You can cheat a little here  
– set one TRIM using the SOLO button, then set all  
the rest of the Recorder Return TRIMs to the same  
position as the one you set using the official method.  
You can get away with this if you set the record level  
If it sounds great just the way it is, mixdown is as  
simple as checking the record level and pressing the  
Record button on the 2-track recorder.  
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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, youre  
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 youre  
mixing. Levels tend to creep upward as you work. Its  
a fact of life. You may need to drop all the channels  
by a few dB in order to keep the mix level peaking  
around 0 VU. If youve added a lot of EQ boost on a  
channel, SOLO the channel and re-adjust its TRIM to  
bring its level back to normal.  
Our example shows a stereo equalizer and com-  
pressor in the MAIN inserts. Once you have a pretty  
good mix, thats the time to put those into service to  
see if you can make the mix any clearer or hotter”  
(if thats your preference). There are some pretty  
remarkable digital nal processors” available today  
that can add a lot of punch and sparkle to a mix, but  
theyre power tools, and a little goes a long way.  
Once your mix sounds good enough to show off,  
check the record level on the mixdown recorder and  
let er rip.  
Other Cue Mixes  
If youre recording bands in the studio, they may  
want to hear something other than a well balanced  
mix that youre creating in the control room. A head-  
phone amplifier would be a good addition to your  
system. A headphone amplifier typically has several  
phone jacks, each with its own volume control so the  
musicians can adjust their own level without blasting  
each other or driving you out of the control room. See  
the hookup diagram on the next page for a head-  
phone amplifier suggestion.  
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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  
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APPLICATIONS: CHAPTER 2  
What well do is record the rhythm section, then  
bounce that to two tracks, and record lead parts over  
the original rhythm tracks. Heres how this works.  
About Bouncing Tracks  
If you like to build up a lot of layers in your record-  
ing, a quintuple-tracked guitar lead, for example,  
when using an 8-track recorder, youll have to do a  
lot of track bouncing. What this means is that you  
record several parts (which could be five passes of  
the guitar solo, a four-part background vocal, or the  
whole drum kit) on individual tracks, then, while  
you still have one or two unused tracks, mix those  
parts down to one or two tracks, and record that mix  
on the open tracks. Now, you can re-use the original  
tracks to record more parts. Using this technique,  
you can make your eight tracks seem like a lot more  
than eight parts.  
Pass 1  
Were still using Channels 9-16 for our recorder  
returns, so assign them to L-R. Well be using the SUB  
outputs, so bring the SUB faders up to Unity gain.  
Now, lets assign some inputs to tape tracks.  
Channel Source Assign Pan  
Track  
7
8
3
4
Drum L 1-2  
Drum R 1-2  
L
R
L
R
1
2
3
4
Guitar  
Bass  
3-4  
3-4  
Double Bussing  
One thing that can make bouncing easier is having  
the exibility to send any channel or mix of channels  
to any recorder track. Using direct outputs requires  
patching or moving cables, but as long as you dont  
need to record on more than four tracks at a time,  
you can make the four SUB outputs do double duty  
by splitting each one out to two recorder tracks.  
Put tracks 1, 2 and 3 into Record, start the drum  
machine, and record the rhythm guitar along with  
the drums. Adjust the faders on Channels 9-10  
(drums) and 11 (guitar) for a comfortable mix. Its  
OK to turn the guitar up too loud at this point if it  
helps you to play well.  
Oh, and dont forget to program a count-off in the  
drum machine so youll know when to start. You can  
chop it off when you mix or edit the mixed song.  
In the Double Bussing Hookup Diagram, each of  
the four SUB OUTs feed a pair of tracks. SUB 1 goes  
to Tracks 1 and 5, SUB 2 goes to Tracks 2 and 6, etc.  
The way to do this is to buy or build Y-adapters or  
Y-cables, which have one input and two outputs. (A  
Y-cable is NOT the same as an Insert cable) Once  
youve connected the recorder in this manner, youll  
be able to route any input to any track by using the  
ASSIGN buttons and PAN knobs.  
You might run through the song a few  
times until youre happy with the rhythm  
guitar recording. Once you have it down,  
dont forget to take Tracks 1, 2, and 3 out of Record  
Ready or youll erase em quicker than you can say  
“Oops!”  
Some recorders and some multitrack  
recording software allows you to double  
bus” right at the recorders input. The  
Pass 2  
Once the guitar parts solid, rewind, put Track 4  
into Record, and play the bass while listening to the  
guitar and drums. Since the bass channel is assigned  
to recorder track 4, itll show up for monitoring on  
Channel 12. Adjust the Channel 9-12 mix so that you  
can play comfortably and hear what youre doing.  
Alesis ADAT® and Mackie SDR24/96 are examples.  
On these recorders, you need only connect the SUB  
OUTs to recorder inputs 1-4 and a button on the  
recorder takes care of the other four inputs. The  
1642-VLZ PRO has a double set of jacks on the SUB  
outputs, so no adapters are required.  
Pass 3  
This is a good time to add a keyboard part to the  
rhythm section before buttoning it up. Lets make it  
a mono track since we dont want it to clutter up the  
mix.  
Recording The One-Person Band  
Heres an example of how youd record using  
a double-bussed setup. Lets say youll begin the  
project by playing rhythm guitar along with the drum  
machine, then add a bass track, a keyboard, sing the  
lead vocal, add lead guitar and keyboard solos, then  
fi nally put on some background vocals. Thats more  
than 8 tracks, isnt it?  
Hey! Weve just made a production deci-  
sion and weve just started tracking! This  
is one of the things youll need to do when  
bouncing. Might as well get used to it. Theres no  
reason why you couldnt record the background keys  
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APPLICATIONS: CHAPTER 2  
in stereo, but it wouldnt illustrate the next point, so  
give us a break while were in teaching mode.  
ing to an adjacent track due to coupling between  
tracks right at the record head. This is never a  
problem with a digital recorder or DAW, and almost  
never a problem with a standard track width analog  
recorder (1" 8-track) but its something you should  
be aware of if youre using a semi-pro analog tape  
deck.  
Its time for some housekeeping. Were done with  
the drums, bass, and guitar for a while, so un-as-  
sign them from Busses1-2 and 3-4. Well need those  
outputs for other things and we dont want stray  
electronic noise creeping in.  
When youre happy with your rhythm section mix,  
its time to record it. Well put it on Tracks 7-8. Un-  
assign all the input channels (1-8). Now, switch the  
assignment of the rhythm channels (9-13) from L-R  
to busses 3-4.  
Now, lets send the keyboard to a recorder track:  
Channel Source Assign Pan  
Track  
5
6
Keys L 1-2  
Keys R 1-2  
L
L
5
5
Put Tracks 7-8 into Record Ready and roll the tape.  
You should hear your rhythm mix coming in on Chan-  
nels 15-16. Check the record level on Tracks 7-8 and  
use the SUB 3-4 faders to adjust if necessary.  
Note that weve panned both keyboard outputs to  
the left, sending them to SUB OUT 1. Since thats  
wired to Track 5 as well as Track 1, the keyboard  
signal will get to the desired track.  
When the level looks good and the mix sounds  
good, rewind, press the Record button, and see if you  
can dance to it.  
Put Track 5 into Record, and tickle the ivories  
while listening to the guitar, bass, and drums. Start-  
ing to sound like a band? Good!  
Now, rewind and play back your rhythm mix a  
couple of times to be sure its what you want. Youll be  
erasing the tracks that made up that mix, so theres  
no turning back.  
Listen closely to the keyboard sound  
when combining stereo outputs to mono.  
Patches that rely on phase shifting  
between the stereo channels, lose something when  
collapsed to mono. You may want to use a different  
patch, or fire the producer and record the keyboard  
in stereo.  
Pass N  
The good news is that you now have a rhythm  
section recorded and six more tracks available for  
other parts. What you do with them and the order  
in which you record further passes depends on your  
song and your creativity. A basic demo might only  
require a lead guitar or keyboard, a lead vocal, and  
maybe a background vocal. Plenty of room for that.  
Simply continue the procedure of assigning an input  
to a track, recording that track, and moving on until  
youve filled all the tracks and recorded all the parts  
you wanted.  
Bounce Time  
Lets take inventory of our recording so far:  
Track 1 – Drums L  
Track 2 – Drums R  
Track 3 – Rhythm Guitar  
Track 4 – Bass  
Track 5 – Background Keyboard  
Play through the rhythm tracks a few times, and  
work up a good mix using the levels, pans, EQ, and  
effects if theyre called for. Give it plenty of thought  
since, after the next step, youll have to live with this  
mix for the rest of the project. Youll probably want  
to pan the drums fully left and right, put the bass in  
the center, and pan the rhythm guitar and keyboard  
fairly far off center on opposite sides to leave room  
for the leads.  
You can continue the bounce process, though, if  
you need to record more parts than you have remain-  
ing tracks. Want a five-layer guitar solo? Record the  
parts on tracks 1, 2, 3, 4, and 5, then bounce them to  
Track 6. Want a four part backup chorus? Record on  
Tracks 2, 3, 4, and 5, then mix and bounce them to  
Track 1. Its up to you.  
Studio Headphone Monitoring  
Note that Track 6 is still available,  
You could have used that if you chose to  
record the keyboard in stereo. But theres  
The mixers headphone output follows the control  
room source, which, most of the time, is the L-R  
MAIN MIX. When tracking, you may want to hear  
something different in the headphones. This hookup  
diagram shows an external Headphone Amplifier  
connected to the AUX 2 OUTPUT.  
another reason why we left Track 6 open. On a nar-  
row format analog recorder (1/2" or 1/4" 8-track for  
example), its possible to get feedback when bounc-  
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APPLICATIONS: CHAPTER 2  
16 Tracks on the 1604-VLZ PRO or Onyx  
1640?  
Sure, why not? After all, theyre sixteen channel  
mixers. Remembering that a channel INSERT is both  
an output and an input, you can put up to sixteen  
recorder tracks in line” with the channels. The In-  
sert Send gives you one mic preamp output to every  
track, and the Insert Return is a line-level input for  
every channel. On the Onyx, you can use the direct  
Recording outputs to feed the recorder straight from  
the mic preamps, then use the Insert Returns with  
a trick plug to monitor the outputs of the multitrack  
recorder.  
To create an independent headphone mix, for  
example, for the lead singer thats heavy on vocals  
and bass but has just enough of the drums so he can  
keep in time, adjust the AUX 2 knobs on the recorder  
return channels to make the singer happy. Youll  
probably want that headphone mix to be pre-fader so  
the singer doesnt hear any tweaks that you make to  
your control room mix while hes singing, so press the  
PRE buttons on those channels.  
Since were using RETURN 2 for the reverb, adding  
reverb to the headphone mix is easy – just turn up  
the TO AUX SEND 2 knob. On the Onyx 1640, theres  
a control to send AUX RETURN 2 to AUX SEND 6 (as  
well as one to route RETURN 1 to the AUX SEND 5  
bus) so if you have an Onyx, use AUX SEND 6 rather  
than 2 for your headphone mix if you want to add an  
effect in the phones.  
If this isnt a big enough hint, see the 1202/1402  
8-Track setup for a more detailed description of this  
setup.  
Using the Insert Outputs connected to up to  
sixteen recorder tracks is an excellent way to make a  
live recording of your band. When you get home, just  
patch the recorder outputs to the mixer line inputs  
(or for an even cleaner signal path, to the Insert Re-  
turns – just push the 1/4" plug in all the way) and itll  
be just like you were there playing on stage, directly  
into the microphones.  
Subgroups and Submixes  
Weve shown how subgroups can be used to mix  
several tape tracks down to one or two, but they can  
also be used to mix live inputs. In these examples  
weve used a stereo drum machine for our drum  
tracks, but if you have a real drummer with a real  
drum kit, you may choose to set up several mics on  
the drums, assign those channels to a pair of SUB  
busses, and use subgroups to mix those mics to two  
channels, which youll send to the recorder.  
Connect your drum mics to the lower numbered  
mixer channels, assign them to subgroups 1-2, and  
record as in the example. By monitoring the recorder  
returns for the drum tracks (channels 9-10 on the  
mixer) you can hear your drum mix and adjust the  
faders, pans, and EQ on the input channels for a good  
drum sound.  
You may want to initially devote four or five tracks  
to drums, and if necessary, mix those down with the  
rest of the rhythm section on a bounce pass. Typically  
when working with fewer than 16 tracks, the kick  
and snare get their own tracks, with toms, cymbals,  
and overhead mics mixed to two other tracks.  
This same technique works well when youre  
recording large groups – a string or horn section, or a  
vocal chorus – as part of a multitrack project. Assign  
the mics to a pair of subgroups and record the sec-  
tion as a stereo pair of tracks.  
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1642-VLZ PRO 8-Track Recording  
Stereo Processor  
In  
8 Track Recorder  
Out  
From Mics, Keys,  
Drum machines,  
etc.  
EFX A  
EFX B  
Stereo Processor  
Mixdown Recorder  
From Sub Outs Bal/Unbal  
Powered Studio Monitors  
Headphones 1  
Headphones 2  
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A Purist’s Recording Path  
The 1642-VLZ PRO has a lot in common with the  
1604. This hookup shows the 1642-VLZ PRO set up for  
8-Track recording with split monitoring and using the  
built-in double-bussing feature on the SUB outputs.  
Refer to the 1604 operating procedures for a how-to-  
do-it description.  
For recording with the minimum electronics in  
the signal path, youll want to patch channel direct  
outputs or insert outputs directly to the recorder  
inputs. Of course you can always connect a line-level  
source such as a mic preamp or keyboard directly to  
a recorder input for the purest signal path.  
Inputs and Outputs  
Its nice to have all the cables in place so you dont  
need to re-patch when going from tracking to mix-  
down, and thats a plus with this hookup.  
Since only Channels 1-8 have direct outputs and  
inserts, youll need to free those up if you want the  
most direct path from the mic preamp to the re-  
corder.  
Multitrack Recorder Connections  
During tracking, you can move the recorder re-  
turns to the eight stereo line level inputs 9-16 (youll  
have to move or lose the effect returns). This wont  
give you all the panning flexibility that you have on  
the mono inputs, since, with both inputs of a stereo  
channel connected, each input is routed to either the  
Left or Right and the PAN only adjusts the balance  
between the two. Itll do for monitoring while track-  
ing, however.  
In this application, were using Line Inputs 1-8 as  
the recorder returns. Those will normally be assigned  
to the main L-R bus so they will appear in the head-  
phones, control room monitors, and at the inputs of  
the mixdown recorder. Since the 1642 has 8 mono  
and 4 stereo inputs, this layout is more appropriate  
for track bouncing and one-track-at-a-time recording  
than bringing the recorder returns in on the last 8  
(stereo) channels.  
When you get ready for mixdown, you wont need  
the direct outputs, so move the recorder outputs  
back over to Channels 1-8. After a few switcheroos  
like this, youll be ready for a patchbay.  
Connect the sound sources to Mono/Stereo inputs  
9-10 and 11-12. If you need more than two mic  
inputs, this is an excellent place to use an outboard  
mic preamp or two, such as the Onyx 800R-800. Using  
outboard preamps for the different colors that they  
impart often gives a nice touch to a recording.  
Recording, Overdubbing, and Mixing  
Refer to the 1604-VLZ PRO section for a blow-  
by-blow description of a tracking session. The only  
variations are where weve chosen to connect things  
in this example.  
Use the PAN controls and ASSIGN buttons to route  
the signal from the mic or line inputs 9-12 through  
the SUB Outputs to the recorder inputs. As with the  
1604 hookup, were using subgroups as signal routers,  
even though they may not be summing more than one  
signal.  
The 1642-VLZ PRO provides two jacks for each of  
the four SUB outputs. Connect these to the eight  
inputs to the 8-track recorder with BUS 1 going to  
tracks 1 and 5, BUS 2 going to tracks 2 and 6, etc.  
Effect Processor Connections  
The two effect processors in this hookup are fed  
from AUX SENDs 3 and 4, and, in this example, are  
returned to the stereo mix through the two stereo  
line-level input channels 13-14 and 15-16.  
The effect processor outputs could also be con-  
nected to AUX RETURNS as shown in the 1604  
recording hookup. This would free up the stereo line  
inputs for additional recording sources – a drum  
machine, another keyboard, or four more channels  
of outboard mic preamps. But variety is the spice of  
mixer hookups.  
77  
Compact Mixer Reference Guide  
 
APPLICATIONS: CHAPTER 2  
Notes  
78  
Compact Mixer Reference Guide  
 

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