Mackie 1642-VLZ PRO User's Manual
Contents
1. and record the rhythm guitar along with the drums Adjust the faders on Channels 9 10 drums and 11 guitar for a comfortable mix It s OK to turn the guitar up too loud at this point if it helps you to play well Oh and don t forget to program a count off in the drum machine so you ll know when to start You can chop it off when you mix or edit the mixed song You might run through the song a few times until you re happy with the rhythm guitar recording Once you have it down don t forget to take Tracks 1 2 and 3 out of Record Ready or you ll erase em quicker than you can say Oops Pass 2 Once the guitar part s 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 it ll show up for monitoring on Channel 12 Adjust the Channel 9 12 mix so that you can play comfortably and hear what you re doing VERY IMPORTANT Pass 3 This is a good time to add a keyboard part to the rhythm section before buttoning it up Let s make it a mono track since we don t want it to clutter up the mix Hey We ve just made a production deci sion and we ve just started tracking This is one of the things you ll need to do when bouncing Might as well get used to it There s no reason why you couldn t record the background keys VERY IMPORTANT Compact Mixer Reference Guide APPLICATIONS CHAPTER 2 in stereo but it wouldn2. keep in time adjust the AUX 2 knobs on the recorder return channels to make the singer happy You ll probably want that headphone mix to be pre fader so the singer doesn t hear any tweaks that you make to your control room mix while he s 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 there s 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 Subgroups and Submixes We ve 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 we ve 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 you ll 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 wa
3. an even cleaner signal path to the Insert Re turns just push the 1 4 plugin all the way and it ll be just like you were there playing on stage directly into the microphones Compact Mixer Reference Guide APPLICATIONS CHAPTER 2 1642 VLZ PRO 8 Track Recording Gl Tan a Guman e O 2 O Stereo Processor In LELLI ae S z 8 Track Recorder z Out O O From Mics Keys Drum machines etc DIRECT OUT BAL UNBAL SALE lt a cm OS REET O 4 Stereo Processor OZ O O EFX B FQ SEI O ws Mixdown Recorder QL 8 pce a D Sb Q LE ON Te Cm 53 O C Powered Studio Monitors Le From Sub Outs Bal Unbal i d i OUT I mare PHONES Headphones 1 Headphones 2 l Compact Mixer Reference Guide 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 Inputs and Outputs It s nice to have all the cables in place so you don t need to re patch when going from tracking to mix down and that s a plus with this hookup Multitrack Recorder Connections 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
4. gt ss O Headphones Compact Mixer Reference Guide 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 you ll 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 Double Bussing One thing that can make bouncing easier is having the flexibility 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 don t need to record on more than four tracks at atime you can make the four SUB outputs do double duty by splitting each one out to two recorder tracks 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 you ve connected the recorder in this manner you ll b
5. t illustrate the next point so give us a break while we re in teaching mode It s time for some housekeeping We re done with the drums bass and guitar for a while so un as sign them from Busses1 2 and 3 4 We ll need those outputs for other things and we dont want stray electronic noise creeping in Now let s send the keyboard to a recorder track Channel Source Assign Pan Track 5 KeysL 1 2 L 5 6 KeysR 1 2 L 5 Note that we ve panned both keyboard outputs to the left sending them to SUB OUT 1 Since that s wired to Track 5 as well as Track 1 the keyboard signal will get to the desired track 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 Listen closely to the keyboard sound A when combining stereo outputs to mono A 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 CLOSER LOOK Bounce Time Let s take inventory of our recording so far Track 1 Drums L Track 2 DrumsR 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 they re called for Give it plenty of thought since after the next step you ll have to li
6. the mixer s headphone jack as a cue feed for the players while turning down the CTL ROOM PHONES control Compact Mixer Reference Guide Z 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 you re safe Set the recorder to Input Monitor mode or Auto Input Monitor with all of its Record Ready buttons pressed and you should see the recorder s meters move as you play If you re using a computer as your recorder you ll 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 If the record levels on all channels look about right when you re wailin you re good to go But what if they aren t Used to be that all recorders had input level controls but today many and this includes most sound cards don t If your recorder has input level controls use them to adjust the record level accord ing to the recorder s instructions If not you ll need to make adjustments from the mixer If the recording level is mu
7. your preference There are some pretty remarkable digital final processors available today that can add a lot of punch and sparkle to a mix but they re 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 you re recording bands in the studio they may want to hear something other than a well balanced mix that you re 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 Compact Mixer Reference Guide APPLICATIONS CHAPTER 2 1604 VLZ PRO 8 Track Recording take 2 Guitar nn Com AE KE mm ET DEE SITT Stereo Compressor Bass Processors Keyboard CHANNEL INSERTS OOO GOOOO0O0O0000O Drum Machine 10 Multi track Digital Recorder 15 14 13 12 11 Y Split for Stereo Compressor O 2 5 S Double Bussing and Stereo EQ 33 5 GER i e Headphone Ob E ano e aa ones d gt Stereo Tape Deck 5 om Ss 2 omm P S e Delay 53 Cmm ON TO ge Cmm Reverb HR824s or Ba E tm other Powered CE x O Studio Monitors 23 6 4 2 8 SS
8. 4 using the ASSIGN buttons and PAN controls Channel ASSIGN PAN 1 1 2 L 2 1 2 R 3 3 4 L 4 3 4 R Here s the rest of your pre flight checklist e Chan 9 16 ASSIGN L R e TRIMs Unity Gain e Chan 9 16 PANs where you want them e CHANNEL 9 16 FADERs Unity Gain e EQs Flat all knobs in their centered posi tion e MAIN MIX FADER Unity Gain e SUB FADERs 1 4 Unity Gain e CTL ROOM SOURCE MAIN MIX CTL ROOM PHONES volume up a bit Perform the Famous Mackie Level Setting Proce dure for all the instruments and mics Don t be shy When setting levels sing and play as loud as you will during a real take If you ll 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 Now the mixer will be happy but what about the recorder S WARNING You re about to send the recorder outputs to the mixer which is z connected to the control room speak ers which can be picked up by the mics if they re 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 If you re 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
9. 8 Track Recording Applications 1604 VLZ PRO 1642 VLZ PRO and Onyx 1640 WU WE d Ak E Cm Ak DE WII Stereo Compressor Bass nt LL ER es Keyboard wl Ets Drum Machine CHANNEL INSERTS DOCO0000000006 335 Multi track Digital Recorder 449843 21 Stereo Compressor 54 and Stereo EQ S z a 16 Sp 6 222 Stereo Tape Deck SS omm ue z BE om P 1 EN EN i ppp i de ee O e HR824s or other Powered Studio Monitors Reverb E Mono in Stereo out AUX RETURNS A SUB OUTS PHONES OUT 4 Headphones Compact Mixer Reference Guide APPLICATIONS CHAPTER 2 These 4 Bus mixers are well suited for 8 track recording applications They re compact enough to fit on a desktop and flexible enough to provide real pro studio features We ll describe a multitrack recording setup using a 1604 VLZ PRO and point out the few dif ferences when using a 1642 VLZ PRO and Onyx 1640 in this application Split Monitoring This application diagram illustrates the concept of Split Monitoring The lower numbered channels 1 8 feed the recorder while the higher numbered channels 9 16 are dedicated to monitoring the outputs of the mul titrack recorder The outputs of channels 1 8 are as signed as needed to get the input signal to the desired track on the recorder The outputs of the monitoring channels 9 16 are assigned to the MAIN L R busses Reco
10. T jacks which deliver the MAIN L R mix at a level of 0 dBV If you have a mixdown recorder that operates at pro levels connect it instead to the balanced or balanced unbalanced MAIN stereo outputs It s handy to have the mixdown recorder outputs connected to the TAPE IN jacks however even if an adapter is required That way you can listen to your mix by simply selecting TAPE as the Control Room Source We ve shown an equalizer and compressor con nected in line with the mixdown recorder by plug ging them into the MAIN INSERT jacks This allows you to do some pre mastering touching up the final frequency balance and reducing the dynamic range so that all the elements of your mix can be heard even in a noisy car We suggest that you only connect this final compressor and or EQ when you re ready to do your final mix Their action could be misleading while you re tracking Effects We re feeding a parallel path reverb from AUX SEND 4 and returning its output to the mix in stereo on stereo AUX RETURN 2 A digital delay is fed from AUX SEND 3 and returns on AUX RETURN 1 If you have a mono delay connecting its output to the left RETURN channel centers the delayed signal in the stereo mix What s wrong with using SENDs 1 and 2 Noth ing and when you have a rack full of effects at your disposal there are times when you ll do so but there s a method to this madness We want to send a post fader signal to our effects
11. and AUX 3 and 4 are always post fader Chances are you ll be reaching for the Reverb send knob more frequently than the Delay knob so we ve made the bottom knob of the group the Reverb That way it will be easier to find It s attention to these little details that can help you to avoid careless errors after a loooo000ng mixing session We ve chosen to bring the two effects back into the mix on RETURNs 1 and 2 so if we choose to create a separate headphone cue mix on AUX 1 or 2 rather than use the PHONES jack we can add effects to the headphone mix as well as the main Control Room mix 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 We ve dedicated Tracks 5 8 to what s plugged into mixer Channels 5 8 keyboard and drum machine by connecting those recorder inputs to the DIRECT OUTs for Channels 5 8 For acleaner 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 you ll need to re patch things By using the sub outputs all you need to dois turn the PAN pot or press a different ASSIGN button Note that the Onyx has Direct outputs for ev
12. but tons to press In fact you were probably doing some panning level adjustments and maybe some E Qing 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 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 APPLICATIONS CHAPTER 2 Do the vocals need some reverb With AUX RETURN 2set 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 mixing Levels tend to creep upward as you work It s 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 you ve 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 that s the time to put those into service to see if you can make the mix any clearer or hotter if that s
13. ch 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 If you need to raise the record level as you may with aless sensitive sound card listen carefully for distortion When you push the faders up past unity gain you ll be running closer to the clipping point of the mixer channel Remember particularly with digital recorders it s 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 can t turn on all the meter lights all the time There s 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 Compact Mixer Reference Guide properly because all the recorder returns will be coming in at the same level relative to their inputs Once all your tracks are recorded you ll want to re check the TRIMs individually before doing the final mixdown This sou
14. e able to route any input to any track by using the ASSIGN buttons and PAN knobs 2 Some recorders and some multitrack A A recording software allows you to double bus right at the recorder s input The 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 Recording The One Person Band Here s an example of how you d record using a double bussed setup Let s say you ll 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 finally put on some background vocals That s more than 8 tracks isn t it APPLICATIONS CHAPTER 2 What we ll do is record the rhythm section then bounce that to two tracks and record lead parts over the original rhythm tracks Here s how this works Pass 1 We re still using Channels 9 16 for our recorder returns so assign them to L R We ll be using the SUB outputs so bring the SUB faders up to Unity gain Now let s assign some inputs to tape tracks Channel Source Assign Pan Track 7 DrumL 1 2 L 1 8 DrumR 1 2 R 2 3 Guitar 3 4 L 3 4 Bass 3 4 R 4 Put tracks 1 2 and 3 into Record start the drum machine
15. er Reference Guide APPLICATIONS CHAPTER 2 Notes Compact Mixer Reference Guide
16. ery channel but they re 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 There s 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 Direct electric guitar without the help of an ampli fier 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 J ust push a button and plugin an instrument Making Tracks First we ll describe the most straightforward procedure using the system as shown in the diagram eight sources eight tracks Then we ll do another take and show you some studio tricks First to avoid an inadvertent feedback path while you re getting things organized pull the faders fully down on Chan nels 1 8 Ready The keyboard and drum machine are already routed directly to tracks To record the vocals guitar APPLICATIONS CHAPTER 2 and bass you must first ASSIGN those channels to SUB OUTs 1
17. eyboard or four more channels of outboard mic preamps But variety is the spice of mixer hookups APPLICATIONS CHAPTER 2 A Purist s Recording Path For recording with the minimum electronics in the signal path you ll 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 Since only Channels 1 8 have direct outputs and inserts you ll need to free those up if you want the most direct path from the mic preamp to the re corder During tracking you can move the recorder re turns to the eight stereo line level inputs 9 16 you ll have to move or lose the effect returns This won t 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 It ll do for monitoring while track ing however When you get ready for mixdown you won t need the direct outputs so move the recorder outputs back over to Channels 1 8 After a few switcheroos like this you ll be ready for a patchbay 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 we ve chosen to connect things in this example Compact Mix
18. nds 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 Now for the easy part Start the recorder and play like you ve never played before Then rewind press Play and be amazed at your musical talent If you re a one person band you ll be recording tracks in multiple passes which is probably why you wanted to get into multitrack recording in the first place Keep your wits about you Once you ve recorded a track don t forget to switch the recorder out of Re cord Ready so you don t erase the track on the next pass And if you re recording successive passes with the same mic remember to assign it to the next track using the mixer s PAN and ASSIGN 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 you ll be overdubbing just like a pro Use Channels 9 16 to adjust the mix that you re listening to while overdubbing Don t 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 plugin the headphones Mixdown A really cool thing about this setup is that you re ready to mix at any time No cables to patch no
19. nt 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 you re recording large groups astring 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 APPLICATIONS CHAPTER 2 16 Tracks on the 1604 VLZ PRO or Onyx 1640 Sure why not After all they re 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 If this isn t 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 makea live recording of your band When you get home just patch the recorder outputs to the mixer line inputs or for
20. rded tracks playing back as well as anything routed to the recorder when the recorder is in the Input Monitor mode this mode sends the recorder inputs straight out its outputs will be heard when you push up the faders on Channels 9 16 Since the recorder returns are assigned to the MAIN mix you can always hear what you re recording what you re about to record when you re checking tuning positioning mics or setting levels and what you ve previously recorded Z When a microphone channel is live as signed to a recorder track and not muted 7 and you re monitoring that track with the control room speakers you can get feedback if the mic is in the same room as the speakers When re cording from a mic in the control room kill the signal to the CR speakers by turning the CR volume down or switching the amplifier off Multitrack Recorder Inputs In this hookup we ve chosen to feed Tracks 1 4 from SUB OUTs 1 4 Tracks 5 8 are fed from DIRECT OUT 5 8 the channels to which in this example the keyboard and drum machine are connected When you re recording Channels 1 4 are assigned to subgroups while Channels 5 8 are assigned to noth ing neither subgroups nor the Main mix You can however assign them to L R if you re rehearsing and want to hear something without the recorder being turned on Compact Mixer Reference Guide H 2 Track Mixdown Recorder The mixdown Cassette DAT recorder is con nected to the RCA TAPE OU
21. 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 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 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 k
22. thm mix a couple of times to be sure it s what you want You ll be erasing the tracks that made up that mix so there s no turning back 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 you ve filled all the tracks and recorded all the parts you wanted 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 It s up to you Studio Headphone Monitoring The mixer s 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 To create an independent headphone mix for example for the lead singer that s heavy on vocals and bass but has just enough of the drums so he can
23. ve with this mix for the rest of the project You ll 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 could have used that if you chose to record the keyboard in stereo But there s another reason why we left Track 6 open On a nar row format analog recorder 1 2 or 1 4 8 track for example it s possible to get feedback when bounc 4 Note that Track 6 is still available X s Compact Mixer Reference Guide 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 it s something you should be aware of if you re using a semi pro analog tape deck When you re happy with your rhythm section mix it s time to record it We ll 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 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 When the level looks good and the mix sounds good rewind press the Record button and see if you can dance to it Now rewind and play back your rhy
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