APPLICATIONS: CHAPTER 4

1202/1402-VLZ PRO and Onyx 1220/1620

4- and 8-Track Recording Applications

In (Record)
Out (Play)

Guitar
4 Track Recorder

CHANNEL INSERTS
Guitar Effects Insert to
first click!

Out Compressor
Keyboard
In
Mic

CHANNEL INPUTS
Out Mono in/stereo out reverb

AUX RETURNS
In

Out
Digital Delay

In
SEND
AUX
ALT 3/4
OUT

Out (Play)
IN-TAPE-OUT

2-Track Mixdown Deck

MAIN
OUT

In (Record)
PHONES CNTRL ROOM
OUT

Headphones
MAIN
OUT
OUTPUTS

HR824 or other powered

Studio Monitors

Compact Mixer Reference Guide 83

APPLICATIONS: CHAPTER 4
The 1202/1402-VLZ PRO and Onyx 1220/1620 mixers ed. But the “all the way in” connection may come in
are very similar in architecture, differing primarily in handy for something else sometime. It’s good to know
the number of inputs. Well, we’re pretty proud of the about alternatives.
improved mic preamps and equalizers in the Onyx,
Note that the mic on Channel 4 has a
but functionally we can treat these similarly when
compressor inserted in-line between the
describing their recording applications. We’ll describe
channel INSERT output and the recorder
applications for these mixers together in this section.
input. This illustrates how you can use an in-line sig-
nal processor for recording even though you’re using
Connections the INSERT jack as a direct output.
This hookup is suitable for basic 4-track recording.
A stereo mixdown recorder is connected to the
The 4-track recorder is fed from the channel inputs,
TAPE OUTPUTS and INPUTS. The MAIN MIX always
using the INSERT jacks as direct outputs. If you
appears at the inputs of the 2-track recorder. Select-
expect to be bouncing tracks, you’ll probably want to
ing TAPE as the CR/SOURCE allows you to hear your
use an alternate hookup that reduces the amount of
mix without any re-patching.
re-patching you’ll need to do.
We show two effect processors in this setup. They’re
We’re using the mixer in a split monitor configura-
fed from AUX 1 and AUX 2 outputs, and the processor
tion with each recorder output connected to a mono
outputs return to the mix through stereo AUX RE-
(odd-numbered) LINE INPUT of a stereo channel,
TURNs 1 and 2. AUX 2 (EFX) is permanently post-
allowing the PAN knobs to act as true pan pots rather
fader, which is appropriate for effect sends. AUX 1
than stereo balance controls. The recorder return
(MON/EFX) is normally pre-fader for a monitor send,
inputs are mixed to the MAIN L-R outputs.
but can be switched post-fader by pressing the AUX 1
The LINE INPUTS on the 1402-VLZ PRO have SELECT (PRE/POST) switch.
switches to set their input sensitivity to match –10
dBV or +4 dBu outputs. Choose the level that’s appro- Recording
priate for your recorder. The input sensitivity of the
If your mics are in the same room as the control
1202 -VLZ PRO and Onyx’s LINE INPUTs is fixed, but
room speakers, avoid feedback by keeping the record-
there is sufficient range on the channel GAIN control
er return channels for the mics muted. When record-
to accommodate either operating level.
ing from the mics, turn the control room speakers off
When recording with a split monitoring setup, by turning off their amplifier or turning its input level
you’re almost always listening to a mix of the recorder control all the way down.
outputs rather than the channel inputs, so we want to
Once you’re feedback-safe, set the recorder to Input
keep INPUTs 1-4 (which feed the recorder directly)
Monitor or Auto Input Monitor and you’re ready to
out of the MAIN L-R MIX. Inserting unbalanced plugs
start tracking. But first . . . .
half way into the INSERT jacks (to the first click)
and pressing the MUTE switches on those channels Perform the Level-Setting Procedure on the input
accomplishes this. channels. Refer to the 1604 setups for step-by-step
procedures.
Plugging the plugs all the way into the
INSERT jacks will also remove the channel
from the MAIN MIX and provide a direct Mixing
output. Why didn’t we do it that way? Well, because Everything’s already set up for mixing. Adjust the
the “halfway in” trick is very popular. It gives you faders, pans, and EQ on the recorder return channels
the option of listening to the input by un-muting the to taste. Effects can be added to the mix by turning up
channel, and you can also solo the channel to use the the AUX1 and AUX 2 knobs on the recorder channels.
famous Level Setting Procedure. With a plug all the
way into the INSERT jacks, the signal is interrupted If you need to use an in-line processor such as a
before the point where it’s tapped off to the SOLO bus. compressor on a recorded track, disconnect that
In fact, with the Onyx, the little 4 LED meter next track’s output from the mixer input and insert the
to the channel fader comes after the INSERT point, processor in-line. The hookup is the same as for the
so that goes away too when the INSERT is used as a processor that’s shown patched in-line with one of the
direct output with the channel signal path interrupt- recorder inputs.

84 Compact Mixer Reference Guide