Mackie 802 VLZ4 User manual

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

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

Part No. SW0969 Rev. C 08/14

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

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].

•

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

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

Hookup Diagrams

Live Band PA System

iPod

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

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

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

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

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

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

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.

8 9

13 14

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.

8 9

13 14

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)

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)

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

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.

8 9

13 14

Owner’s Manual

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.

20 19

802VLZ4

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.

Owner’s Manual

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.

100

10k

20k

–15

–10

–5

+10

+15

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

Low EQ with Low Cut

Low EQ

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

Mid EQ

100

10k

20k

–15

–10

–5

+10

+15

High EQ

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.

Owner’s Manual

Output Section

33 31

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

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,

33 31

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Mackie 802 VLZ4 User manual

Brand: Mackie

Model: 802 VLZ4

Category: Audio mixers

Type: User manual

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