I just pulled the trigger on a mackie 1604 VLZ4, I think there may be some better options perhaps in terms of sound (don’t know yet) but the size factor and routing are just incredible.
This is my first mixer ever, and I look forward to have everything plugged always to it, and just route differently using the faders, instead of pluggin and unplugging all the time.
Some people say EQs are good, some say they are not… I will discover soon!! I have the impression it’s going to be quite Ok for me,
I have a 1202vlz3 and I’m confused about something, maybe through exhaustion (damn children).
I’m sending 2 channels to the Alt3/4 outputs and into an Octatrack. I have 2 post-fader aux effects in use on these channels but only the dry signal makes it to the OT. I don’t think there’s a way to send the stereo returns down the Alt3/4 bus?
All I can think to do is switch to insert effects on those 2 channels…
I’m interested in this as well. Kind of a shot in the dark, instead of using the sends to return, maybe route them back into their own channels? So, you are saying the Alt 3/4 only sends a dry signal huh? I have been looking at a new 1402 to replace my bricked one to try this exact thing.
Also, found this explanation from Mackie, if it helps
Thanks @thoughtstarZ@santhrax
The SOS thread was especially helpful. I guess I hadn’t realised alt3/4 isn’t a full subgroup.
My mixer is a bit ratty anyway, one channel dead and numerous flaky pots. Maybe time for something new and routing sends down channels, A&H zen series perhaps
One tip. I don’t use three of the four mono mic/line inputs, so I started using them as mono returns for guitar pedals. The advantage is that you can send them to the ALT 3+4 bus, and you get all the channel strip controls to shape the sound. You also get to use (and abuse) the preamps on these channels.
You can either patch an AUX SEND to the pedal’s input, then connect the pedal’s output to the channel input.
Or you can put the pedal as an insert on the mono track, and patch the AUX SEND directly to the channel input. Or both.
It’s pretty neat, in fact you mightn’t even need a pedal. You could patch the FX send into a free channel, overdrive its input gain, and mix this distorted/saturated version into the dry signal.
good performance mixer, still working after +10 years of international club abuse, for me almost perfect size / features for live… preamps on mono channels have nice distortion… not perfect, but solid solution.
Here’s a tip for anyone who finds the 1202’s outputs too hot.
I just put a couple of these inline between the Mackie’s control room outputs, and my monitors.
The problem is that, even with the sensitivity on the speakers turned all the way down, I have to turn the channel volume and also the control room volume down to 9 o’clock.
This gives way less throw on the knobs than I’d like. I wanted to somehow pad the Mackie’s outputs so I could keep all its knobs at unity gain most of the time.
I came across this forum post from RME’s Matthias Carstens. I figured RME folks should know their stuff.
I have them set in the centre position, to attenuate 10dB. I don’t hear any difference, but I didn’t really test them out yet. At -10dB, I can put have the Mackie’s knobs where I want them.
Right now, they’re sitting in-line between two cables as follows:
Mackie Control Room Out (jack) > XLR | JTS attenuator | XLR > XLR | Speaker
I’d plug them straight into the speakers, but the XLR jacks on the speakers point down, so there’s not enough room.
Thoughts? Any reason (impedance etc) why this shouldn’t work?
I’m a competent solderer, and having the attenuation inside the XLR appeals to my sense of neatness. I also have a bag of spare resistors from some guitar mods I did a while back. Great suggestion!
Yes, I thought of that too, but even if it was a more appropriate level, I use the main outs for my audio interface, and control room outs for speakers.
One other doubt: should I put the attenuation at the mixer end or speaker end of the XLR cable? I’m guessing the speaker end, to keep the signal hot in the cable, and keep the signal:noise ratio nice and high.
I use JBL LSR305 nearfields. Input sensitivity switch on the monitors is set to +4 dBu (other setting choice is -10 dBV). This attenuates the signal for me … after you asked about the speakers, I realized that this is really why I don’t have this problem.
From the JBL’s manual:
“ Set this switch to +4 dBu to protect from overload when connecting to professional equipment and sources with very high output.”
