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I'm so glad I was able to find a site to download my missing manuals. Very reasonable prices and they kept me informed about the process and I had my manual within less than a day. The only thing I wish was an option is a 100% English version with no spanish or anything. But overall great site.
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The manual is complete with excellent quality! One suggestion, show number of pages and weather it is multi-lingual. The AD 600 Manuel is about 76 pages and over half is non English. This results in a larger print job than usually needed. Having this information, one could select the desired pages for printing.
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I've been looking for a copy of the original user/owner manual. Just what the doctor ordered, thank you.
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the manual was very helpful thank you very much no one else was able to help me thanx
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This is an excellent handbook. We had no information on the appliance until we obtained this and are now able to use the appliance to its full potential. Strongly recommended.
MIC GAIN
-10dBV
TRIM
1
If you�re printing new tracks or bouncing existing ones, you�ll also use the 1�2 and 3�4 switches, but not the L/R switch. Here, you don�t want the subgroups sent back into the MAIN MIX, but sent out, via the SUB OUTS jacks, to your multitrack inputs . However, if you�re printing tracks via the DIRECT OUT jacks , all the channel assignment switches should be disengaged (up). The 1642-VLZ PRO is what we call a �true 4-bus mixer.� Each channel can be assigned or unassigned to any of the subgroups without affecting the other subgroups or settings within the channel, and each subgroup has its own master fader and dedicated output . In fact, since there are 4 subgroups and the MAIN L/R MIX, it�s actually a true 6-bus mixer. We could have named it the 1662-VLZ PRO. Darn!
LEVEL SET (PFL) is also the preferred mode for SR (sound reinforcement, or live sound), to preview channels before they are let into the mix. It won�t give you stereo placement, but will give you signal even if the fader is pulled 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 C-R OUTS, PHONES output and meter display. That may result in a startling level boost at these outputs, depending on the position of the SOLO level knob . In a nutshell, soloed channels are sent to the SOURCE mix , that ultimately feeds your C-R OUTS, PHONES output and meter display. Whenever SOLO is engaged, all SOURCE selections (MAIN MIX, 1�2, 3�4 and TAPE) are defeated, to allow the soloed channel to do just that � SOLO!
U
0 60 +15dB -45dB LOW CUT 75 Hz 18dB/OCT
AUX 1
O O
U
+15 U
2
O O
+15 U
PRE
3
O O
+15 U
4
O O
+15 U HI 12k
EQ
SOLO
This lovable switch allows you to check signals through your PHONES output or C-R OUTS without having to assign them to the L/R, 1-2 or 3-4 mixes. You can solo as many channels as you like. SOLO does not interrupt any of the other channels, buses or outputs � that�s called nondestructive solo. Not only that, via the MODE switch , the 1642-VLZ PRO�s solo system comes in two flavors: NORMAL (AFL) (sometimes called SIP, or solo-in-place) and LEVEL SET (PFL) (sometimes called PFL, or pre-fader-listen). During NORMAL (AFL) mode, the soloed channel�s signal is sent directly to the C-R OUTS, PHONES output, and meter display just as it would sound to the channel�s assignment switches: post-EQ, post-fader and post-PAN. 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 mixdown: If the channel has some midrange boost at 4.2kHz, is panned a smidgen to the left, and its fader is at �5dB, 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-important Level-Setting Procedure . It�ll send the channel�s actual internal levels to the meters so you�ll know just what�s going on, levelwise. This procedure should be performed every time a new sound source is patched into a channel�s MIC or LINE input jacks.
-15 U
+15
MID
�20 (SOLO) LED
An LED that does two completely different things! Saves space, but requires some explanation. First, the ��20� part: Often referred to as �signal activity,� this LED will flicker in time with the signal present in that channel. It�s handy for confirming that a channel is indeed active, and may also lend a clue as to what the signal is. For instance, a kick drum will cause the LED to pulse in time with the drum, and a synth pad will cause it glow a bit more steadily. Now for the �SOLO� part. When a channel�s SOLO switch is engaged, this LED will glow steadily, without flickering. It will also be brighter than it would be as a �20 indicator. In conjunction with the RUDE SOLO LIGHT , you can find a rogue SOLO switch very quickly.
-15
200 100
+15 800 2k 8k U LOW 80Hz FREQ
-15
+15
PAN
L
R
1
MUTE
dB 10 5 U 5 10 20 30 40 50 60
O O
OL
-20
SOLO
1-2
OL (MUTE) LED
Another LED that does two completely different things! First, the �OL� part: �OL� means overload, or clip. You don�t want that to happen. Ever. Clipping can happen to any mixer � it�s the point where the signal�s voltage exceeds the supply voltages that power the circuitry. The 1642-VLZ PRO�s OL LED will come on just before clipping, so if you see it, take immediate action: Perform the Level-Setting Procedure . If that doesn�t help, check for excessive use of EQ boost or fader gain. Like the �20 LED, it will tend to flicker in time with that channel�s signal. Now for the �MUTE� part. Assuming your levels are set correctly, the OL LED will never come on as a result of clipping. That�s pretty
3-4
L/R REC
1
18
