Mackie 802 VLZ4 User manual

802 VLZ4
Mackie
Brand
Mackie
Model
802 VLZ4
Category
Audio mixers
Type
User manual

This manual is also suitable for

802VLZ4
OWNER’S MANUAL
8-Channel Ultra-Compact Mixer
802VLZ4
2
802VLZ4
Important Safety Instructions
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other. A
grounding-type plug has two blades and a third grounding prong. The
wide blade or the third prong are provided for your safety. If the provided
plug does not fit into your outlet, consult an electrician for replacement
of the obsolete outlet.
10.
Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11.
Only use attachments/accessories specified by the manufacturer.
12.
Use only with a cart, stand, tripod, bracket, or
table specified by the manufacturer, or sold with the
apparatus. When a cart is used, use caution when
moving the cart/apparatus combination to avoid
injury from tip-over.
13.
Unplug this apparatus during lightning storms or
when unused for long periods of time.
14.
Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as power-sup-
ply cord or plug is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed to rain or moisture,
does not operate normally, or has been dropped.
15.
This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
16.
Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
17.
The MAINS plug or an appliance coupler is used as the disconnect device,
so the disconnect device shall remain readily operable.
PORTABLE CART
WARNING
CAUTION AVIS
RISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PA S CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the
user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil.
18. NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equip-
ment generates, uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment off and
on, the user is encouraged to try to correct the interference by one or
more of the following measures:
• Reorientorrelocatethereceivingantenna.
• Increasetheseparationbetweentheequipmentandthe
receiver.
• Connecttheequipmentintoanoutletonacircuitdifferentfrom
that to which the receiver is connected.
• Consultthedealeroranexperiencedradio/TVtechnicianfor
help.
CAUTION: Changes or modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user's authority to
operate the equipment under FCC rules.
19.
This apparatus does not exceed the Class A/Class B (whichever is
applicable)
limits for radio noise emissions from digital apparatus as
set out in the radio interference regulations of the Canadian Department
of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils
numériques de class A/de class B (selon le cas) prescrites dans le
réglement sur le brouillage radioélectrique édicté par les ministere des
communications du Canada.
20.
Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially danger-
ous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pres-
sure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn
when operating the equipment in order to prevent permanent hearing
loss if exposure is in excess of the limits set forth here:
Duration,
per day in
hours
Sound Level
dBA, Slow
Response
Typical Example
8 90 Duo in small club
6 92
4 95 Subway Train
3 97
2 100 Veryloudclassicalmusic
1.5 102
1 105
Matt screaming at Troy about
deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock, do
not expose this apparatus to rain or moisture.
Owner’s Manual
3
Owner’s Manual
Part No. SW0969 Rev. C 08/14
©2014 LOUD Technologies Inc.
All Rights Reserved.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
Purchased at:
Date of purchase:
Contents
IMPORTANT SAFETY INSTRUCTIONS ........................ 2
CONTENTS .............................................................. 3
FEATURES ............................................................... 4
INTRODUCTION ...................................................... 4
HOW TO USE THIS MANUAL .................................... 4
GETTING STARTED ................................................... 5
THINGS TO REMEMBER ........................................... 5
HOOKUP DIAGRAMS............................................... 6
PATCHBAY DESCRIPTION ....................................... 11
1. MIC INS (CHANNELS 1–3) ...................... 11
2. LINE INS (CHANNELS 1–2) ...................... 12
3. STEREO LINE INS .................................... 12
4. CHANNEL INSERT (CHANNELS 1–2) ......... 12
5. LOW CUT (CHANNELS 1–3) ..................... 13
6. INSTRUMENT SWITCH (CHANNELS 1–2) .. 13
7. GAIN (CHANNELS 1–3) .......................... 13
8. STEREO RETURN .................................... 13
9. ALT 3–4 OUTS ........................................ 13
10. CONTROL ROOM OUTS ........................... 14
11. PHONES ................................................ 14
12. PHANTOM SWITCH AND LED .................. 14
13. TAPE IN ................................................. 14
14. TAPE OUT .............................................. 15
15. AUX SEND ............................................. 15
16. 1/4" MAIN OUTS ................................... 15
17. XLR MAIN OUTS ................................... 15
18. XLR MAIN OUT LEVEL SWITCH ................ 15
19. POWER CONNECTION ............................. 15
20. POWER SWITCH ..................................... 15
CHANNEL STRIP DESCRIPTION ............................... 16
21. LEVEL .................................................... 16
22. PRE FADER SOLO ................................... 16
23. MUTE/ALT 3–4 ...................................... 16
24. PAN ....................................................... 17
25. LOW EQ ................................................. 17
26. MID EQ .................................................. 17
27. HI EQ ..................................................... 17
28. AUX ...................................................... 18
OUTPUT SECTION .................................................. 19
29. MAIN MIX ............................................. 19
30. CONTROL ROOM SOURCE MATRIX .......... 19
31. PHONES ............................................... 19
32. CONTROL ROOM/SUBMIX ..................... 19
33. ASSIGN TO MAIN MIX ............................ 20
34. RUDE SOLO ............................................ 20
35. METERS ................................................. 20
36. PRE OR POST (AUX) .............................. 21
37. AUX MASTER SEND ................................ 21
38. STEREO RETURN .................................... 21
39. POWER LED ........................................... 21
APPENDIX A: SERVICE INFORMATION .................... 22
APPENDIX B: CONNECTIONS.................................. 22
APPENDIX C: TECHNICAL INFORMATION ................ 25
802VLZ4 LIMITED WARRANTY .............................. 27
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802VLZ4
4
802VLZ4
Features
• 8-channelmixerfeaturingour
signaturehigh-headroom,low-noisedesign
• 3boutique-qualityOnyxmicpreamps
•Ultra-wide60dBgainrange
•128.5dBdynamicrange
•+22dBulineinputhandling
•Extendedfrequencyresponse
•Distortionunder0.0007%
[20Hz–50kHz]
• ImprovedRFrejection,perfectforbroadcast
applications
• Phantompowerforcondensermics
• 8high-headroomlineinputs
• Selectableinstrumentinputsonrsttwo
channels–noDIboxneeded
• 3-bandEQ(80Hz,2.5kHz,12kHz)
• 18dB/oct100Hzlow-cutlteron
micinputchannels
• Auxsend,level,panandPFLsolooneach
channel
• StereoreturnforconnectingFXprocessoror
otherstereosource
• ALT3/4stereobusforaddedroutingexibility
• Controlroom/phonessourcematrix
• High-resolution12-segmentstereometers
• Sealedrotarycontrolsresistdust
andgrime
• “Built-Like-A-Tank”ruggedsteel
chassiswithpowder-coatnish
• High-visibility,high-contrastcontrolsdeliver
convenient“at-a-glance”visualfeedback
Introduction
The8-channel802VLZ4featurestheproven
performanceofouragshipOnyxmicpreampsin
adesk-friendly,ultra-compactdesign,perfectfor
professionalapplicationswithalowerinputneed.
Fromeveryinputtoeveryoutput,the802VLZ4is
designedtoprovidethehighestheadroomandlowest
noisepossibleformaximumsignalintegrity.
Plus,ittrulyis“Built-Like-A-Tank”witharidiculously
ruggedsolidsteelchassisandhigh-contrastcontrolsfor
ultimatetactilecontrol.
Andwithfeatureslikeinstrumentlevelinputs,
phantompowerandlevelmetering,the802VLZ4offers
atruestep-upperformanceanddurabilitythat'sideal
foryourprofessionalapplication.
How To Use This Manual
Afterthisintroduction,agettingstartedguidewill
helpyougetthingssetupfast.Thehookupdiagrams
showsometypicalsetups,whiletheremainingsections
providedetailsofthe802VLZ4mixer.
Thisiconmarksinformationthatiscritically
importantoruniquetothe802VLZ4.
Foryourowngood,readandrememberthem.
Thisiconwillleadyoutoin-depth
explanationsoffeaturesandsomepractical
tips.Theyusuallyhavesomevaluablenuggets
ofinformation.
Thisicondrawsattentiontocertainfeatures
andfunctionsrelatingtotheusageofthe
802VLZ4.
Need help with your mixer?
• Visit www.720trees.com and click 'Contact Tech Support' to find: FAQs, manuals,
addendums, and other documents.
•
Email us a
t: [email protected].
•
T
elephone 1-800-898-3211 to speak with one of our splendid technical support
representatives (Monday-Friday, during normal business hours, Pacific Time).
Owner’s Manual
5
Owner’s Manual
Getting Started
Thefollowingstepswillhelpyousetupthe802VLZ4
mixerquickly.
1. Makeallinitialconnectionswiththepower
switchesOFFonallequipment.Makesurethe
gainknobsandmainmixknobarefullydown
[counter-clockwise].
2. SetthelevelknobsandEQknobsatthecenter
[unity].
3. Connectthesignalsourcetotheinputof
channel 1.
4. Connectthemainoutputsofthe802VLZ4
totheinputsofpoweredspeakers[orto
theinputsofanamplierwhichshould
beconnectedtopassivespeakers].
5. Pushthe3-pinfemalesideofthepoweradaptor
securelyintotheconnectorontherearofthe
802VLZ4.PlugtheotherendintoanACoutlet
properlyconguredwiththecorrectvoltageas
indicatedontheACadaptor.
6. Lightsomeincense,man...
7. Turnthemixeron.
8. Turnthespeakerson.
9. Startthesignalsourceandraisethemainmix
knobupuntilaudiomaybeheardthroughthe
speakers.
10.Adjustthegaincontrolsothatthemeterdisplay
staysaround"0"[LevelSet]andnevergoes
higherthan"+6".
11.Ifyou’dliketoapplysomeEQ,dosonowand
repeatstep9.
12.Repeatfortheremainingchannels,ifrequired.
Things to Remember
• Neverlistentoloudmusicforprolonged
periods.PleaseseetheSafetyInstructionson
page3forinformationonhearingprotection.
• Asageneralguide,the802VLZ4shouldbe
turnedonrst,thenthespeakers.Assuch,
themixershouldalsobeturnedofflast.
Thiswillreducethepossibilityofanyturn-on
orturn-offthumpsandothernoisesgenerated
byanyupstreamequipmentfromcomingout
ofthespeakers.
• Savetheshippingboxesandpackingmaterials!
Youmayneedthemsomeday.Besides,thecats
willloveplayinginthemandjumpingoutat
youunexpectedly.Remembertopretendthat
youaresurprised!
• Saveyoursalesreceiptinasafeplace.
802VLZ4
6
802VLZ4
Hookup Diagrams
Live Band PA System
iPod
TM
Docking Station
Microphone
Acoustic
Guitar
Bass
Guitar
Vocal Compressor
(connected to Insert)
Compressor
(connected to Insert)
Send
Return
Send
Return
Keyboards
SRM650 Powered Speakers
Effects Processor
(connected to aux send)
Return
Amplifier
modeler
DI Box
Electric
Guitar
This diagram shows a microphone connected to the mic input of channel 1, and a vocal compressor
connected to the insert jack. A guitar is attached to the instrument input of channel 2, with the instrument
switch pressed in, and a compressor on the insert. A bass guitar is connected to channel 3's mic input via
a DI box, and another guitar plays through an amplifier modeler into channels 5 and 6. Keyboards are
connected to the line inputs of channels 7 and 8.
An effects processor is connected to the aux send, with the aux send set to post-level. Effects are added
to the main mix via the stereo return inputs, and adjusted with the stereo return level control.
To use the aux send for stage monitors instead of an effects processor, set the aux to pre-level so the
monitor volume level can be adjusted independently from the main loudspeakers.
An iPod
TM
docking station is connected to the tape RCA inputs, so you can play pre-recorded music
during the breaks.
The main mix output connects to a pair of SRM650 powered loudspeakers to please your audience.
Owner’s Manual
7
Owner’s Manual
Home Studio
Condenser
microphone
Acoustic
Guitar
Amplifier
modeler
Electric
Guitar
MR8mk3
studio monitors
Synth
Headphones
Headphone amp
Laptop
Electronic Drum Kit
This diagram shows a condenser microphone connected to the mic input of channel 1, with phantom
power engaged. A guitar is attached to the instrument input of channel 2, with the instrument switch
pressed in. Another guitar plays through an amplifier modeler into channels 3 and 4. A stereo synth is
connected to the line inputs of channels 5 and 6, and an electronic drum kit feeds channels 7 and 8.
The audio outputs from a laptop computer are connected to the RCA tape inputs. This allows you to
playback your recordings made using the DAW of your choice. The Alt 3-4 outputs are used to feed the
inputs to your computer's sound card. By pressing a mute/alt 3-4 switch, it is easy to set up a channel to
record onto your computer.
A headphone amplifier is connected to the headphones output, and feeds four pairs of headphones.
A pair of MR8mk3 powered studio monitors are connected to the control room outputs.
You can use this setup to record overdub style:
1. For the track being recorded, route it to the alt 3-4 output, which feeds the computer input.
2. Monitor just the previously-recorded tracks through the tape input, which will feed the control
room/phones.
3. Since only the currently-recorded track is feeding the computer (through alt 3-4), you will hear the
previous tracks you are overdubbing to, but they will not be recorded to each new track.
4. The control room/phones is fed by a mixture of alt 3-4 (currently recorded track) and tape in
(output of your DAW playing back previously-recorded tracks).
802VLZ4
8
802VLZ4
Keyboard Submixer
Headphones
Keyboard submix to
front-of-house
mixer
Mono synth 1
Stage monitor mix from FOH mixer
Main mix to FOH mixer
Mono synth 2
Synth 4
Synth 3
Stage Snake
SRM150 powered
personal monitor
This diagram shows mono synths connected to the mono line inputs of channel 1 and 2, and stereo
synths connected to the stereo line inputs of channels 5/6, and 7/8.
The XLR main mix outputs are connected to two channels of a stage snake. The main output level switch
next to the main outputs is set to mic, and these balanced outputs are then suitable for sending over long
cable runs from the snake to the front of house mixer. Here, the keyboard submix is added to main mix
with the other instruments and vocals of your legendary all-star band.
The snake returns a stage monitor feed from the FOH mixer into channel 3's line input. Leave the
channel 3 level down, so this feed is not sent to the main mix of the 802VLZ4. Adjust the channel 3
aux control to add the stage monitor mix from the front of house mixer. Adjust the other channel's aux
controls until you are happy with the overall monitor mix of your keyboards and the band's guitars/
drums/vocals etc. Set the aux post/pre switch to pre-level to run the SRM150 as a powered stage
monitor. With this arrangement, you have more control over what you hear in the monitor. You can
add "more me" and "less them," and generally adjust the monitor mix to your liking.
A pair of headphone is connected to the headphones output.
Owner’s Manual
9
Owner’s Manual
Video Editing/Production Bay
Desktop computer
Video out
Video Monitor
DVD Player 1
DVD Player 2
Stereo sound effects
hard disk player
MR8mk3
Studio Monitors
Broadcast
Microphones
This diagram shows two voice-over microphones connected to the mic inputs of channels 1 and 2.
The stereo line-level outputs from two digital video players connect to the line inputs of channels 3/4,
and 5/6.
A stereo sound effects hard disk player is connected to the line inputs of channels 7 and 8.
The tape outputs connect to the line-level audio inputs of a desktop computer running your favorite
DAW. You will probably need a dual RCA to 1/8" adapter, or cable to connect to your computer's audio
input.
The control room outputs feed a pair of MR8mk3 powered studio monitors. The main mix outputs are
feeding the balanced audio inputs of a video recorder.
802VLZ4
10
802VLZ4
Combined Home Studio and Home Theater
Condenser
microphone
Amplifier
modeler
Electric
Guitar
MR8mk3 studio monitors
Synth
Headphones
Laptop
TV Set
DVD Player
video 1
video 2
Cable box
Effect
Processor
This system is useful if you are short on space, or you are in love with a really nice pair of loudspeakers
and want to share them in a home theater and home studio.
A condenser microphone is connected to the mic input of channel 1, with phantom power engaged.
The line-level output from a guitar amplifier modeler feeds the line input of channel 2. A stereo synth is
connected to channels 3 and 4. A laptop computer running the DAW of your choice is connected to the
tape output, so you can record channels 1, 2, 3, and 4.
The stereo line-level audio output from a DVD player is connected to channels 5 and 6, and a cable
box's audio output is connected to channels 7 and 8. The video output from the cable box and DVD
player connect directly to the TV monitor.
An external effects processor is connected to the aux send (in post mode) and its output connects
to the 802VLZ4 stereo return inputs.
A pair of MR8mk3 powered studio monitors is connected to the control room outputs. A pair of
headphones is connected to the headphones output.
To use the home studio, sing and play your guitar, and record using the DAW of your choice, or listen
through the nice speakers and headphones. Turn down channel 5/6 and 7/8 levels if you are not using
the home theater.
To use the home theater, turn down channel 1-4's level knobs. Select a program using the cable
box, and set the channel 7-8 level knob to unity. Use the control room knob to adjust the level in your
loudspeakers. If you play a DVD, turn up the channel 5/6 level control to unity. Use the TV to select
which video source you want to see.
Owner’s Manual
11
Owner’s Manual
Patchbay Description
Thisiswhereyouplugeverythingin:microphones,
line-levelinstrumentsandeffects,headphones,and
theultimatedestinationforyoursound:arecorder,PA
system,etc.
AppendixBhasdetailsanddrawingsofthe
connectorsyoucanusewiththe802VLZ4.Alsosee
thechannelstripdescriptiononpage16fordetails
ofthesignalroutingfromtheXLRandlineinputs.
1. Mic Ins (Channels 1–3)
Phantom-powered,balancedOnyxmicpreamps
areoneveryVLZ4mixer.Thesecircuitsareexcellent
atrejectinghumandnoise.Youcanpluginalmost
anykindofmicthathasastandardXLRmalemic
connector.
Professionalribbon,dynamic,andcondensermicswill
allsoundexcellentthroughtheseinputs.The802VLZ4’s
micinputswillhandleanykindofmiclevelyoucantoss
atthem,withoutoverloading.Besuretoperformthe
gettingstartedprocedureonpage5.
Channel3-4isahybriddesign,withamonomicinput
inastereochannel.Themonomicinputisfedtoboth
sidesofthestereoeld.
Noteveryinstrumentismadetoconnect
directlytoamixer.Guitarscommonlyneed
aDirectInjection(DI)boxtoconnectto
themixer'smicinputs.Channels1and2have
aninstrumentswitch[6]soyoudonotneeda
DIbox,andcanplugyourguitardirectlyintothe
lineinputs[2].
Phantom Power
Mostmodernprofessionalcondensermicsare
equippedforphantompower,whichletsthemixer
sendlow-currentDCvoltagetothemic’selectronics
throughthesamewiresthatcarryaudio.(Semi-pro
condensermicsoftenhavebatteriestoaccomplishthe
samething.)“Phantom”owesitsnametoanabilityto
be“unseen”bydynamicmics(ShureSM57/SM58,for
instance),whichdon’tneedexternalpowerandaren’t
affectedbyitanyway.
The802VLZ4’sphantompowerisgloballycontrolled
bythephantompower[12]switch.(Thismeansthe
phantompowerforthemicinputsofchannels1-3is
turnedonandofftogether.)
Neverplugsingle-ended(unbalanced)
microphonesorinstrumentsintothemic[1]
inputjacksifthephantompowerison.
Do notpluginstrumentoutputsintothemic
inputjackswithphantompoweron,unless
youknowforcertainitissafetodoso.
Do notusephantompowerwithribbon
microphones.
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802VLZ4
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802VLZ4
Whenconnectingamonodevice(justonecord),
alwaysusetheleft(mono)input(jacks3,5,or7)and
plugnothingintotherightinput(jacks4,6,or8)—
thiswaythesignalwillappearonbothsides.Thistrick
iscalled“jacknormalling.”
4. Channel Insert (Channels 1–2)
Thesejacksarewhereyouconnectserialeffects
suchascompressors,equalizers,de-essers,orlters.
Sincemostpeopledon’thavemorethanafewofthese
gadgets,we’veincludedinsertsforjustthersttwo
channels.Ifyouwanttousethiskindofprocessingon
channels3through8,simplypatchyoursourcethrough
yourprocessorbeforeyouplugintothe802VLZ4.
Thechannelinsertpointsareafterthegain[7]
andlowcut[5]controls,butbeforethechannel’s
EQ[25-27]andlevel[21]controls.Thesend(tip)
islow-impedance(120ohms),capableofdrivingany
line-leveldevice.Thereturn(ring)ishigh-impedance
(over2.5kohms)andcanbedrivenbyalmostany
device.
SeeAppendixBfordetailsanddrawingsaboutinsert
cables,andadiagramshowingthreewaystousethe
jacks.
Besidesbeingusedforinsertingexternaldevices,
thesejackscanalsobeusedaschanneldirectoutputs;
post-gain,post-lowcut,andpreEQ.Infact,ourOnyx
micpreampshavebecomesofamous,thatpeoplebuy
themixersjusttohavesomeofthesepreampsintheir
arsenal.
tip
This plug connects to one of the
mixer’s Channel Insert jacks.
ring
tip
ring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
2. Line Ins (Channels 1–2)
Theseinputssharecircuitry(butnotphantompower)
withthemicpreamps,andcanbedrivenbybalanced
orunbalancedsourcesatalmostanylevel.Youcanuse
theseinputsforvirtuallyanysignalyou’llcomeacross,
frominstrumentlevelsaslowas–40dBtooperating
levelsof–10dBVto+4dBu,sincethereismoregain
availablethanonlineinputs3–8.
Toconnectbalancedlinestotheseinputs,usea1⁄4"
Tip-Ring-Sleeve(TRS)plug,thetypefoundonstereo
headphones.
Toconnectunbalancedlinestotheseinputs,usea
1⁄4"mono(TS)phoneplugorstandardinstrument
cable.
Thelineinputs1–2areagoodplacetoconnectolder
instrumentsthatneedmoregain.Youcancorrectweak
levelsbyadjustingthecorrespondingchannel’sgain
control[7].
3. Stereo Line Ins
(Channels 3–4, 5–6, and 7–8)
Thesefully-balancedinputsaredesignedforstereoor
mono,balancedorunbalancedsignals.Theycanbeused
withjustaboutanyprofessionalorsemi-proinstrument,
effectorCDplayer.
Inthestereoaudioworld,anodd-numbered
channelusuallyreceivesthe“leftsignal.”Forexample,
youwouldfeedthe802VLZ4’slineinputs5-6astereo
signalbyinsertingthedevice’sleftoutputpluginto
thechannel5jack,anditsrightoutputplugintothe
channel6jack.
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Owner’s Manual
5. Low Cut (Channels 1–3)
Eachlow-cutswitch,oftenreferredtoasahigh-pass
lter(alldependsonhowyoulookatit),cutsbass
frequenciesbelow100Hzatarateof18dBperoctave.
Werecommendthatyouuselow-cutonevery
microphoneapplicationexceptkickdrum,bassguitar,
orbassysynthpatches.Theseaside,thereisn’tmuch
downtherethatyouwanttohear,andlteringitout
makesthelowstuffyoudowantmuchmorecrispand
tasty.Notonlythat,butlow-cutcanhelpreducethe
possibilityoffeedbackinlivesituations,andithelpsto
conserveamplierpower.
Anotherwaytoconsiderlow-cut’sfunctionisthatit
actuallyaddsexibilityduringliveperformances.
Withtheadditionoflow-cut,youcansafelyuselow
equalizationonvocals.Manytimes,bassshelvingEQ
canreallybenetvoices.Troubleis,addinglowEQalso
boostsstagerumble,michandlingclunksandbreath
pops.Applyinglow-cutremovesallthoseproblems,so
youcanaddlowEQwithoutlosingawoofer.
6. Instrument Switch (Channels 1–2)
Presstheseinifyouwanttoconnectaguitarorother
instrument-levelsourcedirectlytothelineinputsof
channels1and2.YouwillnotneedaDIbox,andyour
guitarwillperformawlessly(well,aslongasyour
playingisthatway).
7. Gain (Channels 1–3)
Ifyouhaven’talready,pleaseread
thegettingstartedsectiononpage5.
Thegainknobsforchannels1and2
adjusttheinputsensitivityofthemic
andlineinputs.Thisallowssignals
fromtheoutsideworldtobeadjusted
tooptimalinternaloperatinglevels.Thegaincontrolfor
channel3justaffectsthechannel3micinputonly.
IfthesignaloriginatesthroughtheXLRjack,there
willbe0dBofgainwiththeknobfullydown,ramping
to60dBofgainfullyup.
Throughthe1⁄4"input(ch1and2only),thereis
20dBofattenuationfullydownand40dBofgainfully
up,witha“U”(unitygain)markat10:00.This20dBof
attenuationcanbeveryhandywhenyouareinserting
averyhotsignal,orwhenyouwanttoaddalotofEQ
gain,orboth.Withoutthis“virtualpad,”thisscenario
mightleadtochannelclipping.
Effects: Serial or Parallel?
Thenextsectionstosstheterms“serial”and“parallel”
aroundlikehackysacks.Here’swhatwemeanbythem:
“Serial”meansthattheentiresignalisroutedthrough
theeffectsdevice.Examples:compressor/limiters,
graphicequalizers.Line-levelsourcesmaybepatched
throughaserialeffectsdevicebeforeorafterthemixer,
orpreferablythroughtheinsertjacks[4].
“Parallel”meansthataportionofthesignalin
themixeristappedofftothedevice(auxsend),
processedandreturnedtothemixer(stereoreturn)to
bemixedwiththeoriginal“dry”signal.Thisway,
multiplechannelscanallmakeuseofthesameeffects
device.Examples:reverb,digitaldelay.
8. Stereo Return
Thisiswhereyouconnecttheoutputsofyourparallel
effectsdevices.Theycanalsobeusedasanextrapairof
stereolineinputsifyouhavealotofsynthsforexample.
Thesebalancedinputsaresimilartothestereolinein
[3]inputs(onlywithoutEQ,auxsends,pan,mute,and
solo).Thecircuitswillhandlestereoormono,balanced
orunbalancedsignals.Theycanbeusedwithjustabout
anyproorsemiproeffectsdeviceonthemarket.The
signalscomingintotheseinputscanbeadjustedusing
thestereoreturn[38]knobbeforepassingontothe
mainmixbus(seepage21formoredetails).
Ifyouhaveaneffectsdevicewithamonooutput
(onecord),plugthatintostereoreturn,left/mono,
andleavestereoreturn,right,unplugged.Thisway
thesignalwillbesenttobothsides,magically
appearinginthecenterasamonosignal.
9. Alt 3–4 Outs
These1⁄4"outputsarethesumofanychannelsthat
havethemute/alt3-4[23]switchpressedin(seepage
16forthetenderdetails).TheoutputsareTRS1/4"
andmaybeconnectedtobalancedorunbalancedlines.
Forexample,youcanusethesetofeedarecorder,
andjustrecordindividualchannelsbypressingtheir
mute/alt3-4switchesoneatatime.
Dry Signal
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
Dry Signal
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
802VLZ4
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802VLZ4
12. Phantom Switch and Led
Thisglobalswitchcontrolsthephantompowersupply
forcondensermicrophonespluggedintothemic[1]
inputs.Seethephantompowerdetailsonpage11
beforeusingthisswitch.
Presstheswitchintoengagephantompowertothe
threemicinputs.Presstheswitchouttoturnitoff.
TheLEDwillcomeonwhenphantompowerisengaged.
Phantompowerissuppliedtoallthreemic
inputsatonce,therefore,donotusea
ribbonmicrophoneinanyoftheseinputs
whenphantompowerisengaged.
13. Tape In
Connectcomputeraudiooutputs,ortaperecorder’s
outputshere,usingstandardhi-(RCA)cables.
Usethesejacksforconvenienttapeplaybackofyour
mixes.You’llbeabletoreviewamixandthenrewind
andtryanotherpasswithoutrepatchingordisturbing
themixerlevels.Youcanalsousethesejackswitha
portabletapeorCDplayertofeedmusictoaPAsystem
betweensets.
WARNING:Engagingboththetapeandassign
tomainmixbuttonsinthecontrolroom
source[30]matrixcancreateafeedback
pathbetweentapeinputandtapeoutput.Makesure
yourtapedeckisnotinrecord,record-pause,orinput
monitormode,whenyouengagetheseswitches,or
makesurethecontrolroom/submix[32]levelknob
isfullycounterclockwise(off).
10. Control Room Outs
TheseTRS1⁄4"balanced/unbalancedoutputs
allowyoutolistentosomethingotherthanthemain
mix.Theseoutputsareoftenusedtorunanicepairof
poweredstudiomonitorsinacontrolroom.Thesource
isselectedusingthesourcematrix[30]switches
(seepage19).Youcanchoosetolistentothemainmix,
thealt3-4stereobus(seemute/alt3-4onpage16),
soloedchannels,orthetapeinput.Thevolumeis
adjustablewiththecontrolroom/submix[32]knob.
11. Phones
Thisstereojackwilldriveanystandardheadphoneto
veryloudlevels."iPod"-typeandcomputerheadphones
mayalsobeusedhere,witha1/4"maleto1/8"female
stereoadapter.
Tolearnhowsignalsareroutedtotheseoutputs,see
sourcematrix[30]onpage19.Thelevelisadjusted
withthephonesknob[31],andthesourceiswhatever
thecontrolroomoutputisplaying,suchasthemain
mix,thealt3-4stereobus,soloedchannels,orthetape
input.Ifyou’rewiringyourowncableforthephones
output,followstandardconventions:
Tip=Leftchannel
Ring=Rightchannel
Sleeve=Commonground
WARNING:Theheadphoneampisloud,
andcancausepermanenteardamage.
Evenintermediatelevelsmaybepainfully
loudwithsomeearphones.BE CAREFUL!Always
turnthephones[31]knoballthewaydownbefore
connectingheadphones.Keepitdownuntilyou’ve
putthephoneson.Thenturnitupslowly.
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14. Tape Out
TheseunbalancedRCAconnectionstapthemain
mixoutputtomakesimultaneousrecordingandPA
workmoreconvenient.Connectthesetoyourrecorder’s
inputs.(Seealsomainmix[29]onpage19.)
MonoOut:Ifyouwanttofeedamonosignaltoyour
tapedeckorotherdevice,simplyuseanRCAY-cordto
combinetheseoutputs.Donotattemptthiswithany
otheroutputsonthe802VLZ4.
15. Aux Send
ThisisaTRS1⁄4"balanced/unbalancedoutput,
commonlyusedtofeedstagemonitors(withauxset
topre)oranexternaleffectsprocessor(withauxset
topost).
Theauxsend[28]knobstapaportionofeach
channel'ssignaltoprovideanoutputhere,allowing
youtosetupanicestagemonitormix,ortosetupan
externaleffectfromdifferentchannels.Seetheaux
senddetailsonpage18.
16. 1/4" Main Outs
These1⁄4"TRSbalanced/unbalancedoutputsfeed
themainmixoutintothewaitingworld.Youmayfeed
theampliersorpoweredspeakersthisway,orthrough
theXLRmainouts[17].
Tousetheseoutputstodrivebalancedinputs,
connect1⁄4"TRS(Tip–Ring–Sleeve)phoneplugs
likethis:
Tip=+(hot)
Ring=–(cold)
Sleeve=Ground
FormostmusicrecordingandPAapplications,
unbalancedlinesarene.Todriveunbalancedinputs,
connect1⁄4"TS(Tip–Sleeve)phoneplugslikethis:
Tip=+(hot)
Sleeve=Ground
17. XLR Main Outs
Usethesetosendthemainmixoutintotheline-level
balancedinputsofyouramplierorpoweredspeakers.
Theselow-impedanceoutputsarefullybalanced,
andthisoutputis6dBhotterthanotheroutputs.
18. XLR Main Out Level Switch
Engagingthisswitchreducesthelevelofthebalanced
XLRmainoutputs,soyoucanfeedthemicrophone
inputof,say,anothermixer.(Youcansafelyconnectthe
XLRoutputsintoaninputthatprovides48Vphantom
power.)
19. Power Connection
Thisiswhereyouplugintheconnectorfromthe
ACadaptersuppliedwithyourmixer.
OnlyusetheACadapterthatcamewithyour
mixer,orafactory-authorizedpowersupply.
20. Power Switch
Pressthetopofthisrockerswitchinwardstoturnon
themixer.ThepowerLED[39]onthetopsurfaceof
themixerwillglowwithhappiness,oratleastitwillif
youhavetheACadapterpluggedintoasuitableliveAC
mainssupply.
Pressthebottomofthisswitchtoputthemixerinto
standbymode.Itwillnotfunction,butthecircuitsarestill
live.Toremovepower,eitherturnoffthemainssupply,
orunplugthepowercordfromthemixerandthemains
supply.
Asageneralguide,youshouldturnonyourmixer
rst,beforethepoweramplierorpoweredspeakers,
andturnitofflast.Thiswillreducethepossibilities
ofanyturn-on,orturn-offthumpsinyourspeakers.
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Channel Strip Description
22. Pre Fader Solo
Thislovableswitchallowsyoutohearsignals
throughyourheadphonesorcontrolroomwithout
havingtoroutethemtothemainmixoralt3-4mix.
Youdon’tevenhavetohavethechannel’slevel[21]
knobturnedup.Folksusesoloinliveworktopreview
channelsbeforetheyareletintothemix,ortojust
checkoutwhataparticularchannelisuptoanytime
duringasession.Youcansoloasmanychannelsata
timeasyoulike.
Soloedchannelsaresenttothesourcemix,which
ultimatelyfeedsyourcontrolroom,phonesandmeter
display.Wheneversoloisengaged,allsourceselections
(mainmix,alt3-4andtape)aredefeated,toallowthe
soloedsignaltodojustthat—solo!
WARNING:Prefadersolotapsthe
channelsignalbeforethelevelknob.
Ifyouhaveachannel’slevelknobsetbelow
“U”(unitygain),solowon’tknowthatandwillsend
aunitygainsignaltothecontrolroom,phonesand
meterdisplay.Thatmayresultinastartlinglevel
boostattheseoutputs.
23. Mute/Alt 3–4
Thedual-purposemute/alt3–4busisoursignature.
WhenGregwasdesigningourrstproduct,hehadto
includeamuteswitchforeachchannel.Muteswitches
dojustwhattheysoundliketheydo.Theyturnoffthe
signalby“routing”itintooblivion.“Gee,whatawaste,”
Gregreasoned.“Whynothavethemutebuttonroutethe
signalsomewhereelseuseful…likeaseparatestereo
bus?”Somute/alt3–4reallyservestwofunctions—
muting(oftenusedduringamixdownorliveshow),and
signalrouting(formultitrackandlivework)whereit
actsasanextrastereobus.
Tousethisasamuteswitch,allyouhavetodoisnot
usethealt3–4[9]outputs.Then,wheneveryoupress
thisswitch,youwillassignachanneltotheseunused
outputs,disconnectingitfromthemainmix,and
effectivelymutingthechannel.
Tousethisasanalt3–4switch,allyouhavetodo
isconnectthealt3–4outputstowhateverdestination
youdesire.Herearetwopopularexamples:
Whendoingmultitrackrecording,usethealt3–4
outputstofeedyourmultitrack.Withmostdecks,you
can"mult"thealt3–4[9]outputs,usingY-cordsor
mults,tofeedmultipletracks.So,takealtoutputLand
sendittotracks1,3,5and7,andaltoutputRandsend
ittotracks2,4,6and8.Now,tracksthatareinrecord
orinputmodeswillhearthealt3–4signals,andtracks
inplaybackorsafemodeswillignorethem.
Thevechannelstripslookalike,andfunction
identically.Thersttwoareforindividualmicsormono
instruments,andhavemoregainavailable.Thenext
stripcontrolsmicorstereoline-levelsources,andthe
lasttwoareforeitherstereoormonoline-levelsources.
(Eachofthestereochannelstripsisactuallytwo
completecircuits.Thecontrolsarelinkedtogetherto
preservestereo.)We’llstartatthebottomandwork
ourwayup:
“U” Like Unity Gain
VLZ4mixershavea“U”symbolonalmostevery
levelcontrol.This“U”standsfor“unitygain,”meaning
nochangeinsignallevel.Onceyouhaveadjustedthe
inputsignaltoline-level,youcanseteverycontrolat
“U”andyoursignalswilltravelthroughthemixerat
optimallevels.What’smore,allthelabelsonourlevel
controlsaremeasuredindecibels(dB),soyou’llknow
whatyou’redoinglevel-wiseifyouchoosetochangea
control’ssettings.
21. Level
Thisadjuststhechannel’slevel,fromoff,tounity
gainatthecenter,onupto12dBofadditionalgain.
Thisknobistheequivalentofachannelfader,
sosometimeswelapseandsaythewordfader.
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Whendoinglivesoundormixdown,it’softenhandy
tocontrolthelevelofseveralchannelswithoneknob.
That’scalledsubgrouping.Simplyassignthesechannels
tothealt3–4mix,engagealt3–4inthesource[30]
matrix,andthesignalswillappearatthecontrolroom
[10]andphones[11]outputs.Ifyouwantthealt3–4
signalstogobackintothemainmix,engagetheassign
tomainmix[33]switch,andthecontrolroom/submix
[32]levelcontrolbecomestheoneknobtocontrolthe
levelsofallthechannelsassignedtoalt3–4.
Anotherwaytodothesamethingisassignthe
channelstothealt3–4mix,thenpatchoutofthe
alt3–4output[9]backintoanunusedstereochannel
lineinput[3].Ifthat’syourchoice,don’teverengage
themute/alt3–4switchonthatstereochannel,oryou’ll
haveeverydogintheneighborhoodhowlingatyour
feedbackloop.
Anotherbenetofthealt3–4featureisthatitcan
actasa“sip”(solo-in-place):justengageachannel's
mute/alt3–4switchandthealt3–4switchinthesource
matrixandyou’llgetthatchannel,allbyitself,inthe
controlroomandphones.
Mute/alt3–4isoneofthosecontrolsthatcan
bewildernewcomers,sotakeyourtimeandplay
aroundwithit.Onceyou’vegotitdown,you’ll
probablythinkofahundredusesforit!
24. Pan
Panadjuststheamountofchannelsignalsenttothe
leftversustherightoutputs.Onmonochannels(ch.1–3
or3–8,withconnectionstotheleftinputonly)these
controlsactaspanpots.Onstereochannels(3–8)with
stereoconnectionstoleftandrightinputs,thepanknob
workslikethebalancecontrolonyourhomestereo.
Pandeterminesthefateofthemainmixandalt3–4
mix.Withthepanknobhardleft,thesignalwillfeed
eithermainoutleftoraltoutputleft,dependingonthe
positionofthealt3–4switch[23].Withtheknobhard
right,thesignalfeedsmainoutrightoraltoutputright.
Constant Loudness ! ! !
The802VLZ4’spancontrolsemployadesigncalled
“ConstantLoudness.”Ithasnothingtodowithliving
nexttoanall-nightdisco.Asyouturnthepan[24]knob
fromlefttoright(therebycausingthesoundtomove
fromthelefttothecentertotheright),thesoundwill
appeartoremainatthesamevolume(orloudness).
Ifyouhaveachannelpannedhardleft(orright)and
reading0dB,itmustdipdownabout4dBontheleft
(orright)whenpannedcenter.Todootherwise(the
waybrandXcompactmixersdo)wouldmakethesound
appearmuchlouderwhenpannedcenter.
3-Band EQ
The802VLZ4has3-bandequalizationatcarefully
selectedpoints—lowshelvingat80Hz,midpeakingat
2.5kHz,andhighshelvingat12kHz.“Shelving”means
thatthecircuitryboostsorcutsallfrequenciesbefore
orpastthespeciedfrequency.Forexample,rotating
thelowEQknob15dBtotherightwillboostthebass
at80Hzandlower,downtothelowestnoteyounever
heard.“Peaking”meansthatcertainfrequenciesform
a“hill”aroundthecenterfrequency—2.5kHzinthe
caseofthemidEQ.
25. Low EQ
Thiscontrolgivesyou
upto15dBboostorcut
below80Hz.Thecircuit
isat(noboostorcut)at
thecenterdetentposition.
Thisfrequencyrepresents
thepunchinbassdrums,
bassguitar,fatsynth
patches,andsomereally
seriousmalesingers.
Usedinconjunctionwith
thelowcut[5]switch,
youcanboostthelowEQ
withoutinjectingatonof
subsonicdebrisintothe
mix.
26. Mid EQ
Shortfor“midrange,”
thisknobprovides15dB
ofboostorcut,centered
at2.5kHz,alsoatatthe
centerdetent.MidrangeEQ
isoftenthoughtofasthe
mostdynamic,becausethe
frequenciesthatdeneany
particularsoundarealmostalwaysfoundinthisrange.
YoucancreatemanyinterestingandusefulEQchanges
byturningthisknobdownaswellasup.
27. Hi EQ
Thiscontrolgivesyouup
to15dBboostorcutabove
12kHz,anditisalsoat
at the detent. Use it to add
sizzletocymbals,andan
overallsenseoftranspar-
ency,oredgetokeyboards,
vocals,guitarandbacon
frying.Turnitdownalittle
toreducesibilance,ortohidetapehiss.
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
Low EQ with Low Cut
Low EQ
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
Mid EQ
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
High EQ
802VLZ4
18
802VLZ4
Moderation During EQ
WithEQ,youcanalsoupsetthingsroyally.We’ve
designedalotofboostandcutintoeachequalizer
circuit,becauseweknoweveryonewilloccasionally
needthat.ButifyoumaxtheEQsoneverychannel,
you’llgetmixmush.Equalizesubtlyandusetheleft
sidesoftheknobs(cut),aswellastheright(boost).
Veryfewgold-record-albumengineerseverusemore
thanabout3dBofEQ.Ifyouneedmorethanthat,
there’susuallyabetterwaytogetit,suchasplacing
amicdifferently(orusingadifferentkindofmicor
singerentirely).
28. Aux
Theseknobsallowyoutotapaportionofeach
channelsignalouttoanothersourceforparalleleffects
processingorstagemonitoring.Auxsendlevelsare
controlledbytheseknobsandbytheauxmaster[37].
Thesearemorethanjusteffectsandmonitorsends.
Theycanbeusedtogenerateseparatemixesfor
recordingor“mix-minuses”forbroadcast.Byusing
auxinthepremode,thesemixlevelscanbeobtained
independentlyofthechannel’slevelcontrol.
Auxinpostmodeispost-lowcut,post-EQand
post-level.Thatis,theauxsendobeysthesettings
ofthesecontrols.AuxinpremodefollowstheEQ
andlowcutsettingsonly.Panandlevelhavenoeffect
onthepresend.
Theauxsendlevelrangesfromoffthroughunity(the
centerposition)onupto15dBofextragain(when
turnedfullyclockwise).Chancesareyou’llneverneed
thisextragain,butit’snicetoknowit’sthereifyoudo.
Thechannel3–8auxknobscontrolthemonosum
ofthechannel’sstereosignalsforeachauxsend.
Forinstance,channel5(L)and6(R)mixtogether
tofeedthatchannel’sauxsendknob.
Stillwithus?Goodforyou.Herecomethetricky
parts,theoutputormastersectionwherethemixing
isreallydone.
28
27
26
25
24
23
22
21
Owner’s Manual
19
Owner’s Manual
Output Section
29
34
35
32
33 31
30
39
36
37 38
now,youprobablyknowwhatthemainmixis.Alt3-4is
thatadditionalstereomixbus.Tapeisthestereosignal
cominginfromthetapeinput[13]jacks.
Selectionsmadeinthesourcematrixdeliverstereo
signalstothecontrolroom,phonesandmeterdisplay.
Withnoswitchesengaged,therewillbenosignalat
theseoutputsandnometerindication.
Theexceptionisthesolofunction.Regardlessofthe
sourceselection,engagingachannel’ssolo[22]switch
willreplacethatselectionwiththesolosignal,alsosent
tothecontrolroom,phonesandmeters.Thisiswhat
makesthegettingstartedproceduresoeasytodo.
Warning:Engagingboththetapeand
assigntomainmix[33]buttoncancreate
afeedbackpathbetweentapeinput[13]and
tapeoutput[14].Makesureyourtapedeckisnotin
record,record-pause,orinput-monitormodewhenyou
engagetheseswitches,ormakesurethecontrolroom/
submix[32]levelknobisfullycounterclockwise(off).
Nowyouknowhowtoselectthesignalstosendto
theengineer’scontrolroomorphones.
31. Phones
Thisknobcontrolsthelevelgoingtoyourstereo
headphones.Makesurethisisfullydownwheneveryou
aremakingconnectionsinyoursystem,orputtingon
theheadphones.Bringupthelevelslowlyandcarefully
toprotectyourhearing.
Thisdedicatedphoneslevelknobmakesitiseasyto
turndownthestudiomonitorsandlistenjustwiththe
headphones,whenoverdubbing,orwheninaroomfull
ofsleepingandhungryleopards.
32. Control Room/Submix
Thisknobcontrolsthelevelofthestereocontrolroom
outputs[10].Thecontrolrangeisfromoffthrough
unitygainatthecenter,with10dBofextragainwhen
turnedfullyclockwise.
Whenmainmixisyourcontrolroomsourceselection,
thosesignalswillnowpassthroughthreelevelcontrols
onthewaytoyourcontrolroomampandphones:the
mainmix[29]knob,thiscontrolroom/submixknob,
andthephonesknob[31].Thisway,youcansenda
nicehealthyleveltothemainoutput(mainmixknob
at“U”),andaquietleveltothecontrolroomorphones
(controlroom/submixknobandphonesknobwhere
youlike).
Whenalt3-4ortapeisselected,orachannelsolo
[22]isengaged,thecontrolroom/submixknoband
phonesknobwillbetheonlyonescontrollingthese
levels(channelcontrolsnotwithstanding).
29. Main Mix
Thisknobcontrolsthelevelsofsignalssenttothe
mainoutputs:XLR[17]and1⁄4"[16]andRCAtape
output[14].Allchannelsandstereoreturns[8]that
arenotmutedorturnedfullydownwillwindupinthe
mainmix.
Fullycounterclockwiseisoff,thecenterisunitygain,
andfullyclockwiseprovides12dBofadditionalgain.
Thisadditionalgainwilltypicallyneverbeneeded,but
onceagain,it’snicetoknowit’sthere.Thisistheknob
toturndownattheendofthesongwhenyouwant
"TheGreatFade-Out."
30. Control Room Source Matrix
Typically,theengineersendsthemainmixtoan
audience(iflive)oramixdowndeck(ifrecording).
Butwhatiftheengineerinthecontrolroomneedsto
hearsomethingotherthanthemainmix?Withthe
802VLZ4,theengineerhasseveralchoicesofwhat
tolistento.Thisisoneofthosetrickyparts,sobrace
yourself.
Withthesesourceswitches,youcanchoosetolisten
toanycombinationofmainmix,alt3-4andtape.By
802VLZ4
20
802VLZ4
Whateveryourselection,youcanalsousethecontrol
room[10]outputsforotherapplications.Itssound
qualityisjustasimpeccableasthemainouts[16and
17].Itcanbeusedasadditionalmainmixoutput,which
maysoundsillysincetherearealreadythree,butthis
onehasitsownlevelcontrol.However,shouldyoudo
somethinglikethis,besurethatyoudonotengagea
soloswitch,asthatwillinterruptyoursourceselection.
A Word About Pre-Fader Solo (PFL)
Engagingachannel’ssolo[22]switchwillcause
thisdramaticturnofevents:anyexistingcontrolroom
sourceselectionswillbereplacedbythesolosignal,
appearinginthecontrolroom,headphones,andinthe
meter.Theaudiblesololevelsarethencontrolledby
thecontrolroom/submix[32]knobandphones[31]
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
regardlessofhowloudyou’relistening.
“Pre-fader”solomeansthatthechannelsignalis
beingtappedbeforethechannel’slevel[21]knob.
Itdoes,however,obeygain[7],lowcut[5]andEQ
[25–27]settings,makingittheperfecttoolforquick
inspectionsofsuspectchannels.Thechannel’span[24]
andmute/alt3-4[23]settingshavenoeffectonthesolo
signal.
Note:forstereochannels3-8,thesolosignalis
themonosumoftheleft(odd-numbered)andright
(even-numbered)signalsforthatchannelstrip.
Warning:Pre-fadersolo[22]tapsthe
channelsignalbeforethelevelknob.Ifyou
haveachannel’slevelknobsetbelow"U"solo
won’tknowthat,andwillsendaunitygainsignaltothe
controlroom,phonesandmeterdisplay,thatmayresult
inastartlinglevelboostattheseoutputs.
33. Assign to Main Mix
Let’ssayyou’redoingaliveshow.Intermissionis
nearingandyou’llwanttoplayasoothingCDforthe
crowdtopreventthemfromeatingthefurniture.Then
youthink,“ButIhavetheCDplayerpluggedintothe
tapeinputs,andthatnevergetstothemainouts!”
Oh,butitdoes.Simplyengagethisswitchandyour
controlroomsourceselection,aftergoingthroughthe
controlroom/submix[32]knob,willfeedintothe
mainmix,justasifitwereanotherstereochannel.
Anotherhandyuseforthisswitchistoenablethe
alt3-4mixtobecomeasubmixofthemainmix,using
thecontrolroom/submixknobasitslevelcontrol.
Sideeffects:(1)engagingthisswitchwillalsofeed
anysoloedchannelsintothemainmix,whichmaybe
thelastthingyouwant.(2)Ifyouhavethemainmix
asyourcontrolroomsourceselectionandthenengage
assigntomainmix,themainmixlinestothecontrol
roomwillbeinterruptedtopreventfeedback.Then
again,whywouldanyonewanttoassignthemainmix
tothemainmix?
34. Rude Solo
Ifyouhappentoforgetyou’reinsolo,youcaneasilybe
trickedintothinkingthatsomethingiswrongwithyour
mixer.Hencetheashingrudesololight.Thiswillcome
onwheneverachannelsoloswitch[22]isengaged.
It’sespeciallyhandyatabout3a.m.whennosound
iscomingoutofyourmonitorsbutyourmultitrackis
playingbacklikemad.
35. Meters
The802VLZ4’speakmeteringsystemismadeup
oftwocolumnsoftwelveLEDs.Deceptivelysimple,
consideringthemultitudeofsignalsthatcanbe
monitoredbyit.
Ifnothingisselectedinthesourcematrixandno
channelsareinsolo,themeterswilljustsitthereand
donothing.Toputthemtowork,youmustmakea
selectioninthesourcematrix[30],orengageasolo
switch[22].Why?Youwantthemeterdisplaytoreect
whattheengineerislisteningto,andaswe’vecovered,
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Mackie 802 VLZ4 User manual

802 VLZ4
Mackie
Brand
Mackie
Model
802 VLZ4
Category
Audio mixers
Type
User manual
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