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Owner’s Manual
Owner’s Manual
40. TAPE IN (LEVEL)
This knob controls the level of the stereo signal com-
ing from the TAPE [12] INPUT RCA jacks. Its range is
off when fully down, unity at the center detent, with 20
dB additional gain turned fully up, which may come in
handy if you’ve patched in a device with wimpy output
levels. After the TAPE IN level is determined, the stereo
tape signal can be sent to either of two places — the
main mix or the SOURCE [42] matrix.
41. TAPE TO MAIN MIX
Engaging this switch is just like engaging the L/R
switch on a channel — the signal, stereo in this case, is
sent to the main mix. It does not interrupt other signals,
just adds itself to them. This switch can be very handy
in a live sound situation when you want to play soothing
elevator music to an anxious crowd.
42. CONTROL ROOM SOURCE
Typically, the engineer sends the main mix to a live
audience or to a mixdown deck (if recording). But what
if the engineer needs to hear something other than the
main mix? With the 1642-VLZ3, the engineer has several
choices of what to listen to.
Via these switches, you can choose to listen to any
combination of MAIN MIX, SUBS 1-2, SUBS 3-4 and
TAPE. Selections made here deliver stereo signals to
the control room, headphones, and meter display. These
signals are tapped off as follows — post-MAIN MIX [37]
fader, post SUBGROUP [38] faders, and post-TAPE IN
[40] knob. With no switches engaged, there will be no
signal at these outputs and no meter indication, with
two exceptions: SOLO and STEREO RETURN 4.
Regardless of the SOURCE selection, engaging a SOLO
[27] switch will replace that selection with the SOLO
signal, also sent to the control room, headphones, and
meters. This is what makes the Level-Setting Procedure
so easy to do.
Now you know how to select the signals you want
to send to the engineer’s control room and/or phones.
From there, these signals all pass through two level
controls:
43. CONTROL ROOM AND PHONES
These knobs control the level of the stereo C-R OUTS
[9] and PHONES [10] outputs.
You can use the control room outputs for other ap-
plications, such as an additional main mix output with
its own level control. However, should you do this, be
aware that if you engage a SOLO switch, it will interrupt
the mix:
Once again, engaging a SOLO [27] switch will cause
this dramatic turn of events: Any existing SOURCE [42]
matrix selections will be replaced by the SOLO signals,
appearing in the control room, headphones, and meters.
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 meter display, regardless of how loud you’re listen
-
ing.
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