Mackie 1402-VLZ PRO Owner's Manual - page 22
22
RUDE SOLO LIGHT
+28
CLIP
0dB
=
0dBu
+10
LEFT
RIGHT
+7
+4
+2
0
-2
-4
-7
-10
-20
-30
POWER
PHANTOM
MAIN MIX
LEVEL
SET
U
O
O
+10
AUX 1 MASTER
U
O
O
+20
U
O
O
+20
AUX
RETURNS
1
2
NORMALLED
EFX TO
MONITOR
ALT
3–4
ASSIGN
TO MAIN MIX
SOURCE
TAPE
SOLO
MODE
MAIN
MIX
dB
30
20
10
O
O
40
50
5
5
U
60
10
dB
30
20
10
O
O
40
50
5
5
U
60
10
/ PHONES
CONTROL
ROOM
(NORMAL)
IN PLACE AFL
PRE-FADER
(LEVEL SET)
AUX 1
SELECT
PRE
POST
Now you know how to select the signals you
want to send to the engineer’s control room or
phones. From there, these signals all pass
through the same level control, aptly named:
CONTROL ROOM / PHONES
As you might expect, this fader controls the
levels of both the stereo
CONTROL ROOM
OUTPUTS and PHONES OUTPUTS . The
control range is from
off through unity gain at
the “U” marking, with 10dB of extra gain fully up.
When
MAIN MIX is your SOURCE selec-
tion, those signals will pass through two level
controls on the way to your control room amp
and phones — the
MAIN MIX fader and this
CONTROL ROOM / PHONES fader. This
way, you can send a nice healthy level to the
MAIN OUTPUTS (MAIN MIX fader at “U”),
and a quiet level to the control room or
phones (
CONTROL ROOM / PHONES fader
wherever you like it).
When
ALT 3-4 or TAPE is selected, or SOLO
is engaged, this fader will be the only one con-
trolling these levels (channel controls not
withstanding).
Whatever your selection, you can also use
the
CONTROL ROOM OUTPUTS for other
applications. Its sound quality is just as impec-
cable as the
MAIN MIX outputs. It can be used
as additional
MAIN MIX output, which may
sound silly since there are already three, but
this one has its own level control. However,
should you do something like this, be sure that
you never engage a
SOLO switch, as that will
interrupt your
SOURCE selection.
SOLO MODE: SIP/PFL
Engaging a channel’s
SOLO switch will
cause this dramatic turn of events: Any exist-
ing
SOURCE matrix selections will be
replaced by the
SOLO signal, appearing at
the
CONTROL ROOM OUTPUTS, PHONES
OUTPUTS and at the METERS. The audible
SOLO levels are then controlled by the
CONTROL ROOM / PHONES fader. The
SOLO levels appearing on the METERS
are not controlled by anything — you
wouldn’t want that. You want to see the ac-
tual channel level on the
METERS regardless
of how loud you’re listening.
With the
SOLO MODE switch in the up
position, you’re in AFL mode, meaning After-
Fader Listen. You’ll hear the output of the
soloed channel — it will follow the
channel’s
TRIM, EQ, FADER and PAN set-
tings. It’s similar to muting all the other
channels, but without the hassle. Use AFL
mode during mixdown.
With the switch down, you’re in PFL mode,
meaning Pre-Fader Listen (post
EQ). This
mode is required for the Level Setting Proce-
dure and is handy for quick spot-checks of
channels, especially ones that have their
faders turned down.
In either mode,
SOLO will not be affected
by a channel’s
MUTE/ALT switch position.
RUDE SOLO LIGHT
This flashing Light Emitting Diode serves
two purposes — to remind you that at least
one channel is in
SOLO, and to let you know
that you’re mixing on a Mackie. No other com-
pany is so concerned about your level of
SOLO
awareness. If you work on a mixer that has a
solo function with no indicator lights, and you
happen to forget you’re in solo, you can easily
be tricked into thinking that something is
wrong with your mixer. Hence the
RUDE
SOLO LIGHT. It’s especially handy at about
3AM when no sound is coming out of your
monitors but your multitrack is playing back
like mad.