Filter
Top Products
21
Owner’s Manual
Owner’s Manual
Engaging a SOLO switch will cause this dramatic turn
of events: Any existing SOURCE matrix selections will
be replaced by the SOLO signals, appearing in the con-
trol room, headphones and meter display. The audible
solo levels are controlled by the SOLO [46] 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 display,
regardless of how loud you’re listening.
44. MODE (NORMAL (AFL)/LEVEL SET (PFL))
The 1604-VLZ3’s solo system comes in two fl avors:
NORMAL (AFL) (sometimes called SIP, or solo-in-
place) and LEVEL SET (PFL) (sometimes called PFL,
or pre-fader-listen).
In NORMAL (AFL), the soloed channel’s signal is sent
directly to the control room, headphones and meter dis-
play just as it would sound to the channel’s assignment
switches: post-EQ [32], post-FADER [25] and post-PAN
[31]. The only difference is that SOLO works regardless
of the channel’s assignment positions, and that makes it
really handy — you can check out a channel before you
assign it.
NORMAL (AFL) is the preferred mode during mix-
down: If the channel has some midrange boost at
4.236kHz, is panned a smidgen to the left, and its fader
is at –5.385dB, that’s exactly what you’ll hear if you
SOLO during NORMAL (AFL) mode. It’s just as if you
took the time to mute all the other channels.
LEVEL SET (PFL) solo is the key player in the all-im-
portant Level-Setting Procedure . It’ll send the chan-
nel’s actual internal levels to the meters so you’ll know
just what’s going on, level-wise. This procedure should
be performed every time a new sound source is patched
into a channel’s MIC [1] or LINE [2] input jacks.
LEVEL SET (PFL) is also the preferred mode for SR
(sound reinforcement, or live sound), to preview chan-
nels before they are let into the mix. It won’t give you
stereo placement, but will give you signal even if the
fader is turned down.
Remember, LEVEL SET (PFL) taps the
channel signal before the fader. If you have
a channel’s fader set way below “U” (unity
gain), SOLO won’t know that and will send a unity gain
signal to the control room, headphones, and meter dis-
play. That may result in a startling level boost at these
outputs, depending on the position of the SOLO [46]
level knob.
45. LEVEL SET LED
To quote step 6 of the Level-Setting Procedure , “Push
in the MODE [44] switch in the output section (LEVEL
SET (PFL) mode) — the LEVEL SET LED will light.”
When the MODE switch is engaged, it’s in LEVEL
SET (PFL) mode, the mode you must be in to set levels.
Now, when you engage any solo switch, this LED will
be a “green light” to set levels. If you tried to set levels
during NORMAL (AFL) mode, the meter display would
be at the mercy of the channel fader, and that would be
a big problem.
46. SOLO (LEVEL)
This knob controls the level of the signals coming
from the SOLO system. After the SOLO level is deter-
mined, the SOLO signals will proceed to take over the
control room, headphones, and meter display .
Once again, LEVEL SET (PFL) SOLO taps
the channel signal before the fader. If you
have a channel’s fader set way below “U”
(unity gain), LEVEL SET (PFL) SOLO won’t know that
and will send a unity gain signal to the control room,
headphones, and meter display. This may result in a
startling level boost at these outputs, depending on the
position of the SOLO level knob.
47. RUDE SOLO LIGHT
This fl ashing LED (light emitting diode) serves two
purposes — to remind you that you’re in SOLO, and to
let you know that you’re mixing on a Mackie. No other
company is so concerned about your level of SOLO
awareness. We even force the soloed chan nel’s –20 LED
to play along, so you can fi nd that rogue switch fast.
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 some-
thing is wrong with your mixer. Hence the RUDE SOLO
LIGHT. It’s especially handy at about 3:00 in the morn-
ing, when no sound is coming out of your monitors, even
though your multitrack is playing back like mad.