Mackie 2404VLZ4 24 Channel 4 Bus Mixer User manual

2404VLZ4 24 Channel 4 Bus Mixer
Mackie
Brand
Mackie
Model
2404VLZ4 24 Channel 4 Bus Mixer
Category
Audio mixers
Type
User manual
VLZ4 4•Bus
OWNER’S MANUAL
24-/32-Channel 4-Bus FX Mixer with USB
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
31/32 29/30
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
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ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR
CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY
NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE
RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.
+6
U
2
VLZ4 4•Bus
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-
supply 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.
This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing
connection (the third grounding prong).
18.
This apparatus has been equipped with a rocker-style AC mains power
switch. This switch is located on the rear panel and should remain
readily accessible to the user.
19.
The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
PORTABLE CART
WARNING
20. 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 equipment 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.
21.
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.
22.
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
dangerous exposure to high sound pressure levels, it is recommended
that all persons exposed to equipment capable of producing high
sound pressure 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:
Important Safety Instructions
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.
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
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
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperatio
n in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
3
Owner’s Manual
Part No. SW0974 Rev. B 06/13
©2013 LOUD Technologies Inc. All Rights Reserved.
Based off of the highly recommended book, 246 Ways to
Clean a Cat Box.
Contents
Important Safety Instructions .................................. 2
Contents ................................................................. 3
Features ................................................................. 4
Introduction ............................................................ 5
Getting Started ....................................................... 6
Hookup Diagrams .................................................... 7
VLZ4 4•Bus Features .............................................. 9
Rear Panel - Connections ...................................... 9
1. Mic Ins .................................................... 9
2. Line Ins .................................................... 9
3. Insert .................................................... 10
4. Stereo Line Ins ....................................... 10
5. Stereo Returns 1-2 ................................. 10
6. Tape Ins / Outs ...................................... 10
7. L/R Main Outs: XLR & 1/4" ................... 11
8. Main Inserts .......................................... 11
9. Mono Out .............................................. 11
10. Mono Out Level Control .......................... 11
11. Group Outs 1-4 ...................................... 11
12. Group Inserts ......................................... 11
13. Aux Sends 1-6 ....................................... 11
14. Aux Inserts ........................................... 12
15. Left/Right Monitor Outs ........................ 12
16. Mono Monitor Out .................................. 12
17. Headphone Out ...................................... 12
18. USB In/Out............................................ 12
19. Talkback Mic .......................................... 14
20. Power ................................................... 14
21. 48V Phantom Power .............................. 14
22. Power Connection ................................... 14
Front Panel - Knob Twiddlin' Section .................... 15
23. Gain Control ........................................... 16
24. Low Cut ................................................. 16
25. Pad (-20 dB) Switch ............................... 16
26. Compressor ............................................ 17
27. Aux Sends 1-6 ....................................... 18
28. Pre-Fader / Aux Sends 1-2..................... 18
29. Int Fx 1-2 / Aux Sends 5-6 .................... 18
30. Int Fx / Aux 5-6 Switch ......................... 18
31. High EQ ................................................. 19
32. Mid EQ .................................................. 19
33. Mid EQ Frequency ................................... 19
34. Low EQ .................................................. 19
35. High Mid EQ Level .................................. 19
36. Low Mid EQ Level ................................... 19
37. Pan ....................................................... 19
38. Mute ..................................................... 19
39. OL LED ................................................... 19
40. Sig LED .................................................. 20
41. Solo ....................................................... 20
42. Assign ................................................... 20
43. Channel Fader ........................................ 20
44. FX1 And FX2.......................................... 20
45. USB Switch ............................................ 20
2-Track, USB, Aux Masters And Meters ............... 21
46. Lamp ..................................................... 21
47. Suck Knob .............................................. 21
48. 2-Track Return Level ............................... 21
49. 2-Track Return Solo ................................ 21
50. 2-Track Return Tape/USB ....................... 21
51. USB Out................................................. 22
52. Master Aux Sends 1-6 ............................ 22
53. Master Aux Sends Solo ........................... 22
54. Stereo Returns 1-2 To Aux 1-4/Main ...... 22
55. Stereo Returns Solo ................................ 22
56. 48V Led ................................................. 22
57. Power Led ............................................. 22
58. Left/Right Level Meters ......................... 23
59. Rude Solo Light ...................................... 23
60. Solo Mode ............................................. 23
Stereo Effects Processors, Headphones, Talkback, ...
Main And Groups Mix ........................................... 24
61. FX1 And FX2 Send Master ...................... 24
62. FX1 And FX2 To Aux 1/Aux 2/Main ....... 24
63. Sig/OL LED ............................................ 24
64. Preset Display ........................................ 24
65. Preset Selector, Tap Delay And LED .......... 25
66. Internal FX Mute .................................... 25
67. Solo Level .............................................. 25
68. Monitor Level ......................................... 26
69. Phones Level .......................................... 26
70. Talkback Level ........................................ 26
71. Push To Talk: Main, Aux 1-4 ................... 26
72. Compressor ............................................ 26
73. Groups Assign ........................................ 26
74. Group 1-4 Faders ................................... 27
75. Main Mix ............................................... 27
Appendix A: Service Information ............................ 28
Appendix B: Connections ........................................ 28
Appendix C: Technical Information .......................... 31
Appendix D: USB ................................................... 37
Appendix E: Table of Effects Presets ....................... 38
Limited Warranty .................................................. 39
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4
VLZ4 4•Bus
Features
• 4•busmixerfeaturingoursignature
high-headroom, low-noise design
• 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
• Dedicatedinlinechannelcompression
forcriticalinputs
• High-headroomlineinputswithdedicated
inserts
• 3-bandEQwithsweepablemidrange
• 18dB/oct100Hzlow-cutlteronmicinput
channels
• Level,pan,soloandoverload/muteLEDs
on each channel
• Foursubgroupsfeaturingdedicatedinline
compressorsfortotaldynamiccontrol
• Sixauxsendswithinserts,pre/postfader
andinternal/externalFXsendoptions
• Twostereoreturnsandfourgroupouts
with inserts
• Dual32-bitRMFX+
™
processorsfeaturing
24“GigReady”reverbs,chorusesandtapdelay
forliveapplications
• Integrated4x224-bitUSBinterface
•StreamsubgroupsormasterL/Rtoyour
PCorMacforrecording
•Useyourfavoriteplug-inliveviaauxes5/6
•Convenientstereoreturntomainsformusic
playbackorreturntochanneltoimplement
EQ,auxesandmore
• PFL/AFLsolomodes
• 60mmlong-wearinglog-taperfaders
• High-resolution12-segmentstereometers
• Sealedrotarycontrol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
• Universalpowersupplyforworldwideuse
How To Use This Manual
Aftertheintroduction,agettingstartedguidewill
helpyougetthingssetupfast.Thesearefollowedby
hookupdiagramswhichshowsometypicalsetups.
Nextisadetailedtouroftheentiremixer.
Thedescriptionsaredividedintosections,just
asyourmixerisorganizedintodistinctzones:
• RearPanel/Connections
• ChannelControls
• 2-Track,USB,AuxMasters,Meters
• StereoEffectsProcessors,Headphones,
Talkback,MainandGroupsMix
Throughoutthesesectionsyou’llndillustrations
witheachfeaturenumberedanddescribedinnearby
paragraphs.
This icon marks infor mation that is critically
importantoruniquetothemixer.Foryourown
good, read them and remember them.
Thisiconwillleadyoutosomeexplanations
offeaturesandpracticaltips.Theyusually
havesomevaluablenuggetsofinformation.
5
Owner’s Manual
Introduction
Awesomely unheard of features
USB Recording and Playback
TheVLZ44•BusSeriesMixersfeaturea4x2USB
recordingandplaybackfunction.Thismeansuptofour
signalsmayberecordedsimultaneouslyandastereo
mixreturnedtothemixerforplayback.
There are two switches in the master section labeled
“USB OUT”thatallowformonstrousexibilityonthe
fourrecordablesignals.Thedefaultswitch
congurationroutessubgroups1-4overtheUSB
connectiontoyourfavoriteDAWsoftwarefora“mixit
later”4-trackrecording.TheSubgroup1-2switchalso
allowstheL-Rmixtoberecordedforconvenientstereo
mixesoftheshow.TheSubgroup3-4switchallowsaux
5/6tobesenttotheDAWforauniquestereorecording
ortheuseofDAWplug-insaseffects.
Forplayback,therearetwoswitchesinthemaster
section labeled “2-TRACKRETURN”.Oneswitch[TAPE/
USB]changesthestandarddualRCAinputstomain
(tape,switchdisengaged)tostereoUSBtomain(USB,
switchengaged).Thisisanextremelyconvenient
functionforplayingmusicoverthemainmixfroma
computer.
AnothercoolfeatureoftheVLZ44•Busisrouting
thestereoUSBreturntothelaststereochannelofthe
mixer.Thisisamightynetoolforanumberofliveand
recordinguses.Forexample,playbackthroughthe
stereo channel allows the “GregMdesigned” 4-band
EQtobeutilizedtosweetenthesounds.Itmayalsobe
usedforoverdubbingbysendingmusictothemusicians'
headphonesthroughtheauxes.
Last,butnotleast,itmaybeusedtoreturnplug-in
effectsfromtheDAWinalivemixscenario.Oneofour
favoritesistheCamelPhatVSTthatmakesyour
averagedrummersoundlikeBonhamonHow The West
Was Won.
Need help with your mixer?
• Visit www.720trees.com and click Support to find: FAQs, manuals and other useful information.
• Email us at: [email protected].
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps
(Monday through Friday, normal business hours, Pacific Time).
Powerful on-board dual FX engines and eight
individual compressors
Inpursuitoftheultimate“do-it-all”LiveSound
Mixer,wethrewinthekitchensinkandpackedthisbad
boywithafullsetofprocessorsallowingyoutotravel
“rackfree”whilestillmakingprofessionalsounding
mixes.
Forstarters,weaddednotone,butTWO,ofour
patentedRunningManFXprocessors(RMFX+
™
)
featuring24“gig-ready”effectsrightintotheboard.This
doesnotincludeuselesseffectssuchas“thewarbler”or
the“insanitydelay”,butratherasuiteofquickly
accessibleanduseablereverbs,chorusesanddelays
thatmakecoloringyourmixabreeze.
Additionally,bothFXprocessorsfeatureatapdelay,
typicallyonlyavailableonanoutboardrack.Delaysmay
easilybesync'dwiththesongatthetapofanger.And
becauseweloveexiblerouting(hehe),theprocessed
signal may be sent direct to the mains and monitors
fromtheeffectssectionorre-routedtothetwostereo
channelstobringthemthroughtheEQandauxsection,
utilizingthe60mmfadertodrawthemintothemix.
Butwait,there'smore!TheVLZ44•Bushaseight
(yes,eight!)singleknobcompressorstostopthe
dynamicsignalsfrompokingoutofthemix.Four
compressorsarelocatedonthelastfourmicinputs
sothatthemostcriticalsignals(suchasvocals,snare
drum,theoccasionaljawharpormountaingoats)may
beaddressed.Plus,therearesingleknobcompressors
oneachofthefoursubgroupssothatgroupedsignals
(suchasadrumsetorachoirofdidgeridoos)maybe
blendedtogetherforparamountsmoothness.
Bottomline?Youhaveanawesomemixerwith
VLZ4soundquality,“built-like-a-tank”buildquality
andarecordingandprocessingfeaturesetthatis
unparalleled.Congratulations...andhappymixing!
6
VLZ4 4•Bus
Set the levels
It’snotevennecessarytohearwhatyou’redoingto
setoptimallevels.Butifyou’dliketo:Plugheadphones
intothephonesoutputjack,thenturnupthephones
knobjustalittle.
1. Turnonthemixerbypressingthetopedgeof
thepowerswitch.
2. Foronechannel,pressthesoloswitchin,and
therudesololightwillturnon.
3. Playsomethingintothatinputatreal-world
levels.
4. Adjustthatchannel'sgaincontroluntilthe
rightmainmeterstaysaroundthe0dBLED
(marked“levelset”).
5. Disengagethechannel'ssoloswitch.
6. Repeatsteps2to5fortheremainingchannels.
7. Turnupthechannelfadertothe“U”mark.
8. Slowlyturnupthemainmixfaderuntilyou
hearthesignalsinyourheadphones.
9. Ifneeded,applysomechannelEQwisely.
10.Adjustthechannellevelstogetthebestmix.
Keepthegaincontrolsandlevelsfullydownon
unusedchannels.
11.Duringtheperformance,ifyounoticeachannel
OLLEDturningonduringpeaks,carefullyturn
downthatchannel'sgaincontroluntilOLdoes
notturnon.
Things to Remember
• Neverlistentoloudmusicforprolonged
periods.PleaseseetheSafetyInstructionson
page2forinformationonhearingprotection.
• Alwaysturndownthephoneslevelwhen
makingconnections,pressingsolo,ordoing
anythingthatmaycauseloudnessinthe
headphones.Thiswillhelpprotectyour
hearing.
• Alwaysturndownthemainmixleveland
monitor level when making connections
tothemixer.Betteryet,turnoffthepower.
• Whenshuttingdown,turnoffanypower
ampliersorpoweredspeakersrst.When
poweringup,turnthemonlast.Thiswill
reducethechanceofturn-onorturn-off
thumps.
• Savetheshippingbox!
Getting Started
Werealizethatyoumustbereallykeentotryoutthe
mixer.Pleasereadthesafetyinstructionsonpage2,
thenhavealookthroughsomeofthefeaturesand
detailsinthismanual.
Setup
Usethemixerinanicecleananddryenvironment,
freefromdryerlintanddustbunnies.
Zero the controls
1. Fullyturndownalltheknobstominimum,
exceptforthechannelEQandpancontrols,
whichshouldbecentered.
2. Makesureallbuttonsareintheoutposition.
Connections
1. MakesuretheACpowerswitchisoffbefore
making any connections.
2. PushthelinecordsecurelyintotheIEC
connectorontherearpanel,andplugitintoa
3-prongACoutlet.Themixercanaccept
any
AC voltage ranging from 100 VAC to 240 VAC.
3. Plugabalancedmicrophoneintooneofthemic
XLR(3-pin)connectors.Orconnectany
line-levelsignal(keyboard,orguitarpreamp)
toalineinputjackusingaTSoraTRS 
1/4"plug.
4. Ifyourmicrophonerequiresphantompower,
turnonthe48Vphantompowerbutton.
5. Allmonochannelshaveinsertjacksthatcanbe
usedtoconnectanexternaleffectsordynamics
processorintothesignalchain.
6. Connectthemainoutputsofthemixer(either
XLRorTRS1/4")tothelinelevelinputsofyour
amplier(withspeakersalreadyattached)or
tothelinelevelinputsofpoweredspeakers.
7
Owner’s Manual
Hookup Diagrams
Typical Live Sound System
The drummer is the mic and channel hog of the band; Dustin has the kick, snare and three toms mic'd
up, in addition to two overhead mics. These run to mic inputs 1-7. desTROYer is rockin' the electric guitar
through an Ampeg GVT52-212 guitar amp. The amp is mic'd and connected to the channel 8 mic input.
Keyboard player Chris is connected to the channel 10 and 11 line inputs...well, Chris isn't connected to
the inputs; his keyboard is! Vocalist Anthony is singing through a mic connected to the mic 19 input. A
bass guitar is connected to an Ampeg rig which is connected (via DI) to the mic 20 input. The last four
mono channels of each 24 and 32-channel VLZ4 4•Bus mixer have built-in compressors, so feel free to
"squeeze" the vocals and bass to heart's desire since they lie here. Last, but not least, a DJ is spinning
records connected (via a d.2 Pro DJ mixer) to the line inputs on stereo channels 21/22. The sound guy
(or gal) may monitor levels using headphones (via the headphones output) and/or a pair of MR8mk3's
connected to the monitor L/R outputs.
Four SRM450v2 powered speakers are used as stage monitors for the band; they are connected to the
aux 1-4 send jacks. An SRM150 powered speaker receives a mono input from the aux 5 send, and is
used as a monitor for Chris (the keyboard player). Graphic EQs are connected to aux inserts 1-4 to help
prevent feedback.
The club is driven by connecting a pair of DLM12S powered subwoofers and a pair of DLM12
powered speakers to the main left and right outputs.
A laptop connects to the mixer via the USB port, allowing the 2-channel main mix to be recorded.
Any music (iTunes
®
, mp3s, or other pre-recorded audio) may be played back from the laptop, as well.
These can enter as either a source for the monitor and phones, or any available channels.
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
power
input
reverb mastergain treble middle
bass
volume channel
1
1
2
gain treble middle bass volume
2
off
on
standby
TDSK
half
full
1
2
3
4
hi
lo
ultra hi / lo
5
master standby
standby/
power/
fault
powertreblefrequencymidrangebassgain
-15dB0dB
ks
pb
no
jd
pa
jh
LINE
MIC
R R
PGM 2
MAIN OUT MIC
L LLLL R
PHONO CD
SEND
R
BOOTH
FX
GND
LINE
PHONO
RETURN
L(MONO)
RR
L
R
LIVE
RECORD
PGM 1
LINE
PHONO
GND
PHONO CD
R R
LL
DLM12
Powered
Speaker
DLM12
Powered
Speaker
DLM12S
Powered
Subwoofer
DLM12S
Powered
Subwoofer
Laptop
Computer
with audio
production
software
Headphones
Turntables with phono-level output
d.2 Pro DJ mixer
MR8mk3
Powered Reference
Monitors L/R
SRM450v2 Powered Speakers
for Stage Monitors (Aux Sends 1-4)
Chris
on keys
Francis
on bass
DI
Box
Dustin
on drums
desTROYer
on six-string
Anthony on
lead vox
Monitor EQ
(Aux Inserts 1-4)
SRM150
Powered Monitor
for keyboard player
(Aux Send 5)
8
VLZ4 4•Bus
Typical Recording System
Once the band has played a few shows and feel that the songs are up to par, then it's time to record
them for posterity and all three adoring fans. The good thing is that the VLZ4 4•Bus mixer functions great
in both environments... live and recording!
Here is how to record the band in three easy steps:
1. Drum tracking: wire up everything as shown above. Bus the kick (panned left) to subgroup 1 and
snare (panned right) to subgroup 2 so they are recorded to their own tracks in the DAW. They will show
up on inputs 1 and 2. All four subgroup assign 1-2 Left/Right switches should be engaged so these
signals may be monitored in mono. Bus the tom mics and overhead mics to subgroups 3 and 4; set the
pans as preferred. The subgroup assign 3 left and subgroup assign 4 right switches should be engaged.
These signals are recorded and monitored with the pan image as set up on the mixer and will show up
as inputs 3 and 4. Check the levels carefully as they cannot be mixed later. The drums now need to be
mixed in the DAW before overdubbing takes place.
2. Overdubbing: rst, route the stereo USB return into the last stereo channel (23/24 or 31/32,
depending on which VLZ4 4•Bus is being utilized). Next, route the stereo channel to the L/R Main
so playback occurs in the headphones. Now route the bass to the L/R Main by sending the bass mic
(panned left) to subgroup 1, and input 1 to track 5 of the DAW, while sending the bass DI (panned right)
to subgroup 2, and input 2 to track 6 of the DAW. Finally, engage the subgroup assign 1 and 2 Left/
Right switches to hear the bass in mono. Congratulations, you are overdubbing with zero latency!
3. Rinse and repeat: follow these same steps for guitars, keyboards, vocals, kazoos, llamas, and
whatever else you can fit in the studio. It's that easy!
As the session progresses, the engineer, band, producer, A&R representative, and whatever posse may
be present can crank the tunes through a pair of MR8mk3's and nod their collective heads to the beat.
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
power
input
reverb mastergain treble middle
bass
volume channel
1
1
2
gain treble middle bass volume
2
off
on
standby
TDSK
half
full
1
2
3
4
hi
lo
ultra hi / lo
5
master standby
standby/
power/
fault
powertreblefrequencymidrangebassgain
-15dB0dB
ks
pb
no
jd
pa
jh
Laptop
Computer
with audio
production
software
MR8mk3
Powered Reference
Monitors L/R
Headphone Amp
Headphones
Chris
on keys
Francis
on bass
Amplifier
modeler
DI
Box
Dustin
on drums
desTROYer
on six-string
Anthony on
lead vox
9
Owner’s Manual
Rear Panel - Connections
1. Mic Ins
ThisisafemaleXLRconnectorthatacceptsa
balancedmicorlinelevelinputfromalmostanytype
ofsource.TheseOnyxmicpreampsfeaturehigher
delityandheadroomrivalinganystandalonemic
preamponthemarkettoday.Thesecircuitsare
excellentatrejectinghumandnoise.
TheXLRinputsarewiredasfollows:
Pin1=Shieldorground
Pin2=Positive(+orhot)
Pin3=Negative(–orcold)
Professional ribbon, dynamic, and condenser mics all
soundexcellentthroughtheseinputs.Themic/line
inputswillhandleanykindoflevelyoucantossat
them,withoutoverloading.
Microphone-levelsignalsarepassedthroughthe
mixer'ssplendidmicrophonepreamplierstobecome
line-level signals.
TheOnyxpreampsacceptbalancedline-levelsignals
becausethemixerisequippedwitha-20dBpadon
channels1-16(2404VLZ4)andchannels
1-24(3204VLZ4)sohotsignalsmaypass.
SeeAppendixB(page31)forfurtherdetailsand
someratherlovelydrawingsoftheconnectorsyoucan
usewithyourmixer.
VLZ4 4•Bus Features
Phantom Power
Mostmodernprofessionalcondensermicsrequire
48V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.
Phantompowermaybeselectedbypressinguponthe
mixer'sphantom[21]switch.
Neverplugsingle-ended(unbalanced)
microphones,orribbonmicsintothemic
inputjacksifphantompowerison.Donot
pluginstrumentoutputsintothemicXLRinputjacks
withphantompoweron,unlessyouarecertainitissafe
to do so.
2. Line Ins
These1/4"jackssharecircuitry(butnotphantom
power)withthemicpreamps,andcanbedrivenby
balancedorunbalancedsources.
Toconnectbalancedlinestotheseinputs,usea1⁄4"
Tip-Ring-Sleeve(TRS)plug,wiredasfollows:
Tip=Positive(+orhot)
Ring=Negative(–orcold)
Sleeve=Shieldorground
Toconnectunbalancedlinestotheseinputs,usea
1⁄4"mono(TS)phoneplug,wiredasfollows:
Tip=Positive(+orhot)
Sleeve=Shieldorground
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
10
VLZ4 4•Bus
5. Stereo Returns 1-2
Thestereo(aux)returnsaredesignedfor1/4"TRS
balancedor1/4"TSunbalancedsignals,from-20dBto
+20dB.Theyallowthestereoprocessedoutputfrom
externaleffectsprocessorsorotherdevicestobeadded
tothemainmix.
Leveladjustmentoftheincomingsignalsismadewith
thestereoreturncontrols[54].
Youmayalsousetheseinputstoaddanystereo
line-levelsignalstoyourmainmix,soitcouldbe
anotherline-levelsource,notjustaneffectsprocessor.
Ifyouareconnectingamonosource,usetheleft
(mono)stereoreturninput,andthemonosignalswill
appearonbothsidesofthemainmix.
6. Tape Ins / Outs
ThestereounbalancedRCAinputsallowyoutoplay
aCDplayer,iPod
®
dock,orotherline-levelsource.
Thetapeinjacksacceptanunbalancedsignalusing
standardhi-hookupcables.
ThestereounbalancedRCAoutputsallowyouto
recordthemainstereomixontoaharddiskrecorder
orautomaticCDburner,forexample.Thisletsyou
makearecordingforposterity/archive/legalpurposes
whenever the band gets back together again.
Thetapeoutputisthestereomainmix,anditisnot
affectedbythemainmixlevelcontrol[75]. Theoutput
couldalsobeusedasanextrasetofmainoutputsfor
feedinganotherzone.
3. Insert
Theseunbalanced1/4"jacksareforconnectingserial
effectsprocessorssuchascompressors,equalizers,
de-essers,orlters.Theinsertpointisafterthegain
control[23]andlowcutlter[24],butbeforethe
channel’sEQ[31-36]andlevel[43]. The channel signal
cangooutoftheinsertjacktoanexternaldevice,be
processedandcomebackinonthesameinsertjack.To
dothisrequiresastandardinsertcablethatmustbe
wiredthusly:
Tip=Send(outputtoeffectsdevice)
Ring=Return(inputfromeffectsdevice)
Sleeve=Commonground
Insertjacksmaybeusedaschanneldirectoutputs;
post-gain,andpre-EQ.Seetheconnectorsectionon
page30(gureG)showingthreewaystouseinsert
cables.
4. Stereo Line Ins
Thestereolineinputsaredesignedfor1/4"TRS
balancedor1/4"TSunbalancedsignals.Theymay
acceptanyline-levelinstrument,effectsdevice,CD
player,etc.
Levelcontrolisavailable-20dBto+20dBifyouare
connectingamonosource.Usetheleft(mono)stereo
returninput,andthemonosignalswillappearonboth
sidesofthemainmix.
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)
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
11
Owner’s Manual
7. Left/Right Main Outs: XLR & 1/4"
ThemaleXLRconnectorsprovideabalanced
line-levelsignalthatrepresentstheendofthemixer
chain,wherethefullymixedstereosignalentersthe
realworld.Connectthesetotheleftorrightinputsof
yourmainpowerampliers,poweredspeakers,orserial
effectsprocessor(likeagraphicequalizeror
compressor/limiter).TheXLRoutputsare6dB
hotterthantheTRSoutputs.
The1/4"TRSoutputconnectorsprovidebalancedor
unbalancedline-levelsignals.Connectthesetothenext
deviceinthesignalchainlikeanexternalprocessor
(compressor/limiter),ordirectlytotheinputsofthe
mainamplier.Thesearethesamesignalthatappears
attheXLRmainoutputs,but6dBlowerwhentheXLR
isusedbalanced.
8. Main Inserts
These1/4"TRSjacksareforconnectingserialeffects
suchascompressors,equalizers,deessers,orlters.
Theinsertpointisafterthemixamps,butbeforethe
mainmixfader[75].Refertothedescriptionofthe
channelinsertonthepreviouspagetoseehowto
make this connection.
9. Mono Out
ThemaleXLRconnector[balanced]and1/4"TRS
outputconnector[balancedorunbalanced]provide
a line-level signal that is a combination of the left and
rightmainout[7]signals(L+R).Youmayusethisfor
aseparatemixthatdoesnotrequireastereofeed,or
tosimplytestthemonauralcompatibilityofthestereo
mix.Again,whenusedbalanced,theXLRsignalis6dB
higherthanthatfromtheTRSjack.
10. Mono Out Level Control
Thisisaseparatelevelcontrolforthemonoout[9].
Itcomesafterthemainmixfader[75],soturningthe
mainmixfaderupanddowndoesaffectthemonoout
signal.Withthiscontrolturnedallthewayup,youwill
have6dBofextragainatthemonoout.
11. Group Outs 1-4
These1/4"TRSjacksprovidebalancedorunbalanced
line-levelsignalsandaretypicallypatchedtothe
inputsofamultitrackdeck,ortosecondaryampliers
inacomplexinstallation.
12. Group Inserts
These1/4"TRSjacksareforconnectingserialeffects
suchascompressors,equalizers,de-essers,orlters.
Theinsertpointisafterthemixamps,butbeforethe
groupsendmasters[74](andafterthebuilt-instereo
compressor[72]).Refertothedescriptionofthe
channelinsert[3]onthepreviouspagetoseehowto
make this connection.
13. Aux Sends 1-6
These1/4"TRSconnectorsallowyoutosendbalanced
orunbalancedline-leveloutputstoexternaleffects
devices,headphoneampliers,orstagemonitors.These
couldeitherbepassivestagemonitorspoweredbyan
externalamplier,orpoweredstagemonitorswithbuilt-
inpowerampliers.Allsixauxesareindependentof
eachother,soyoucanrunuptosixseparateauxmixes.
Auxsends3-4mayeitherbepreorpostfader,
dependingonthepositionofthepre/postswitches[28].
Forstagemonitorwork,usepre,sothestagemonitors
donotincreaseinvolumewhenthechannellevelis
adjusted.Imaginehowupsettingthatcanbetobighairy
drummers.Thisallowsyoutosetupthemonitormix
andlevelsjustright,andnothaveitchangeeverytime
achannellevelisadjusted.
Forexternalprocessors,usepost.Inthisway,the
feedtoexternalprocessorswillvarywiththechannel
level,sothelevelofanyreturnedeffect(likeanecho)
willalsochangeifthechannellevelischanged,keeping
theminthesameratio(wet/dry).
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
12
VLZ4 4•Bus
14. Aux Inserts
These1/4"TRSjacksareforconnectingserialeffects
suchascompressors,equalizers,de-essers,orlters.
Theinsertpointisafterthemixamps,butbeforethe
auxsendmasters[52]andthesoloswitch[60](soyou
mayheartheexternalprocessorwhensoloingtheaux
send).Refertothedescriptionofthechannelinsert[3]
onpage10toseehowtomakethisconnection.
15. Left/Right Monitor Outs
These1/4"TRSjacksprovideabalancedline-level
signalthatmaybeusedtoprovideanadditionalmain
mixoutputortomonitorsoloedchannels.
Connecttheseoutputstotheinputsofanamplier,
poweredspeaker,headphonedistributionamplier,
or recording device.
16. Mono Monitor Out
This1/4"TRSoutputconnectorprovidesabalanced
line-level signal that is a combination of the left and
rightmonitorout[15]signals(L+R).Youmayusethis
foraseparatemixthatdoesnotrequireastereofeed,
ortosimplytestthemonauralcompatibilityofthe
stereomix.
Connecttheseoutputstotheinputsofanamplier,
poweredspeaker,headphonedistributionamplier,
or recording device.
17. Headphone Out
This1/4"TRSconnectorsuppliestheoutputto
stereoheadphones.Itisthesamesignalthatisrouted
tothemonitoroutputs[15-16].Thevolumeis
controlledwiththephonesknob[69],rightnext
tothemonitorknob[68].
Wheneverasoloswitch[41,49,53,55,73]isengaged,
youwillonlyhearthesoloedchannel(s),2-trackreturn,
aux(es),and/orgroup(s)intheheadphones.Thisgives
youtheopportunitytoauditionthechannelsbefore
theyareaddedtothemainmix.(Solosignalsreaching
theheadphonesarenotaffectedbythechannellevelor
mainlevel(exceptinAFLmode),thereforeturndown
thephoneslevelrst,assoloedchannelsmaybeloud.)
Thephonesoutputfollowsstandardconventions:
Tip=Leftchannel
Ring = Right channel
Sleeve=Commonground
WARNING:Theheadphoneampisloud,and
cancausepermanenthearingdamage.Even
intermediatelevelsmaybepainfullyloud
withsomeheadphones.BE CAREFUL!Alwaysturnthe
phoneslevelcontrol[69]allthewaydownbefore
connectingheadphonesorpressingasoloswitch,or
doinganythingnewthatmayaffecttheheadphone
volume.Thenturnitupslowlyasyoulistencarefully.
18. USB In/Out
Thebuilt-inUSBinterfaceallowsforsome
powerfulandexiblerouting.Itisa4x2interface
allowingyoutorecorduptofourstreamsfromthe
mixer,ortoinputstereoplaybackfromacomputer
androuteittonearlyanyoutputorpairofoutputs
onthemixer.TousethisfeaturewithaPC,rst
download the PC ASIO driver from www.720trees.com.
IfconnectingtoaMac,themixerwillshowupasa
4x2devicewithnodriverrequired.
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
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4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
13
Owner’s Manual
TheUSBroutingcapabilitiesareasfollows:
USB input TO the mixer – playback:
(1)Stereochannel23/24(onthe2404VLZ4)and
31/32(onthe3204VLZ4)featuresaUSBbutton,soone
mayroutecomputeroutput(suchasiTunes
®
)downthe
last stereo channel of the board. This stereo signal may
thenbeEQ'd,senttoauxiliaries(i.e.tofeedmonitors,
headphonesoreffects)andisroutabletomainsand/or
subgroupsviathefaderroutingfeaturesthatare
available on all other channels. In short, this signal may
besenttonearlyanydesiredoutputorpairofoutputs.
Additionally,thegainknobatthetopofthischannel
stripadjuststheUSBinputleveltothemixertoachieve
anoptimalsignallevel.
(2)The2-TrackReturnsectionfeaturesa“ip”
switch,soa“Tape”source(connectedviaRCAcables,
suchasaniPod
®
)ortheUSBsignalfromacomputer
(playingWindowsMediaPlayer
®
les,forexample)may
beroutedtothemainbus.Thissectionalsofeaturesa
solobuttonandinputleveladjustmentforfadinghouse
musicupanddownbetweenbands,atahouseof
worship,oranyothereventwherethismaybe
necessary.
USB output FROM the mixer – recording, etc:
(1)Avarietyofdifferentsignalsmayberecorded
viatheUSBoutputsection,dependingonthesetup.In
the'USBOUT'section,theswitchontheleft[51]will
selecteitherGroups1-2orthemainmixtofeedUSB
outputchannels1-2.Thesecondswitch(totheright)
willselecteitherGroups3-4orAux5-6tofeedUSB
outputchannels3-4.
Forexample,withbothUSBouputswitchesinthe
defaultposition(up),true4-trackrecordingmaybe
accomplishedviaroutingtosubgroups1-4.TheUSBtap
pointsforthesubgroupsarepre-fader(alsopre-insert)
andpost-compressor.Thesignalswillshowuponthe
DAWdependentuponhowtheyarepannedonthe
channels.
Inotherwords,ifsubgroups1and2areusedtosub-
mixdrumsandthosedrumshaveastereoimage
(e.g.overheadsandtomspanaccordingtodesire),this
stereoimageisretainedintheDAWinputs(assuming
subgroup1issetto"L"andsubgroup2issetto"R").
Anyadjustmentsmadetothesubgroupdrumlevels
duringtheshowonlypertaintotheliveshowitself;
recordinglevelsarenotadjustedintheDAWunlessthey
areadjustedonthechannels.However,compression
settingsmadeonthemixerwillapplytotherecording.
Likewise,itispossibletorecordthemainmixtotake
homeacopyoftheliveshow.Theselevelsarealso
pre-mainfader.Therefore,levelsmaybemixedupor
downintheDAWlaterdependingontheneedsofthe
recordingversustheliveshow.Theendresultisthat
fade-insand/orfade-outsmadeduringtheshowdonot
affect recorded levels.
Andnally,itispossibletoroutetheaux5-6(again,
pre-fader)mixersignalsintoaDAWorplug-inhost.
Fromthere,re-routetheoutputoftheDAW(orplug-in
host)backintothemixer.Voilà...apowerfuloutboard
effectsunit!
Successhereispartiallydependentuponthe
computer'sspeed.Itneedstobefastenough
torunatlowbuffersizessothatthereisno
noticeablelatencybetweentheinputsignaland,say,
thereverbreturn.Thiskindofexibleroutingallows
foravarietyofchoices:runningaux5-6aseffectssends
tooutboardgear,internaleffectssends(nativetothe
board),DAWplug-ins(viaUSB)orasmonitormix
feeds...atrulypowerfulfeature!Besuretoreviewthe
softwarerequirementsonwww.720trees.comtoconrm
thatthelatestdevicedriversarecurrentlyinuse.
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
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5
5
5
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4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
14
VLZ4 4•Bus
19. Talkback Mic
Thisiswheretopluginanexternaltalkback
microphone.Dynamicandself-poweredcondenser
microphonesworkwell.
20. Power
Pressthetopofthisrockerswitchinwardstoturnon
themixer.ThefrontpanelpowerLED[57]willglow
withhappiness,oratleastitwillifyouhavethemixer
pluggedintoasuitableliveACmainssupply.
Pressthebottomofthisswitchtoputthemixerinto
standbymode.Itwillnotfunction,butsomecircuitsare
stilllive.ToremoveACpower,eitherturnofftheAC
mainssupply,orunplugthepowercordfromthemixer
andtheACmainssupply.
Asageneralguide,youshouldturnonyour
mixerrst,beforeanyexternalpower
ampliersorpoweredspeakers,andturnit
offlast.Thiswillreducethepossibilitiesofanyturn-on,
orturn-offthumpsinyourspeakers.
21. 48V Phantom Power
Mostmodernprofessionalcondensermicsrequire
48V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.
Pressthetopofthisswitchinifyourmicrophone
requiresphantompower.(Alwayschecktheposition
ofthisswitchbeforeconnectingmicrophones.)Ared
LED[56]willilluminatejustabovethemainmix
meters[58]toindicatethatphantompowerisactive.
Thisisaglobalswitchthataffectsallmicchannels'XLR
jacksatonce.
Neverplugsingle-ended(unbalanced)
microphones,orribbonmicsintothemic
inputjacksifphantompowerison.Donot
pluginstrumentoutputsintothemicXLRinputjacks
withphantompoweron,unlessyouknowforcertainit
is safe to do so. Besurethemainlevel[75]isturned
downwhenconnectingmicrophonestothemicinputs
whenphantompoweristurnedon,topreventpopsfrom
gettingthroughtothespeakers.
22. Power Connection
Thisisastandard3-prongIECpowerconnector.
Connectthedetachablelinecord(includedinthebox
withyourmixer)tothepowerreceptacle,andplugthe
otherendofthelinecordintoanACoutlet.The
VLZ44•BusSeriesMixershaveauniversalpower
supplythatcanaccept
any AC voltage ranging from
100 VAC to 240 VAC. No need for voltage select switches.
Itwillworkvirtuallyanywhereintheworld.That’swhy
wecallita“Planet-Earth”powersupply!Itisless
susceptibletovoltagesagsorspikes,comparedto
conventionalpowersupplies,andprovidesgreater
electromagneticisolationandbetterprotectionagainst
AC line noise.
Disconnectingtheplug’sgroundpinis
dangerous.Don’tdoit.
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
15
Owner’s Manual
VLZ4 4•Bus Features
Front Panel - Channel Strip
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
23 23
35
36
24 4444
25 4526
27
28
29
31
32
33
34
37
43
30
38
39
40
41
42
16
VLZ4 4•Bus
Channel Controls
Theverticalchannelstripslookverysimilar,and
haveonlyafewdifferencesbetweenthem.Each
channelworksindependently,andjustcontrolsthe
signalspluggedintotheinputsdirectlybehindit.
“U” like Unity gain
VLZ4mixershavea“U”symbolonalmosteverylevel
control.Itstandsfor“unitygain,”meaningnochangein
signallevel.Thelabelsonthe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.
23. Gain Control
Ifyouhaven’talready,pleasereadthegettingstarted
sectiononpage6.
Thegainknobsadjusttheinputsensitivityofthemic
andlineinputs.Thisallowssignalsfromtheoutside
worldtobeadjustedtorunthrougheachchannelat
optimalinternaloperatinglevels.
Ifthesignaloriginatesthroughthemic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"lineinputofchannels1-20
(2404VLZ4)andchannels1-28(3204VLZ4),thereis20
dBofattenuationfullydownand40dBofgainfullyup,
withunitygain“U”at10:00.
Throughthe1⁄4"lineinputofchannels21/22and
23/24(2404VLZ4)and29/30and31/32(3204VLZ4),
thereis20dBofattenuationfullydownand20dBof
gainfullyup,withunitygain“U”at12:00.
This20dBofattenuationcanbeveryhandywhenyou
areinsertingahotsignal,orwhenyouwanttoaddEQ
gain,orboth.Withoutthis“virtualpad,”thereismore
chanceofchannelclipping.
24. Low Cut
Allmonochannelshavealow-cutswitch(often
referredtoasahigh-passlter)that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fromway-down
low.Applyinglow-cutremovesallthoseproblems,
soyoucanaddlowEQwithoutblowingyoursubwoofers.
25. Pad (-20 dB) Switch
Inmostcases,thepadswitchwillbedisengaged.
However,microphonesandbalancedline-levelsignals
thatproduceahigheroutputthanusualmayrequire
thatthegaincontrol[23]isturnedwaydown.Ifthisis
thecase,engagethepadswitchtoallowanadditional
20dBattheinputtothemicpreamp.Thisprevents
overloadingthemicrophonepreampandprovidesbetter
gaincontrol.ThepadonlyappliestoXLRinputs,notthe
1/4"TRSinputs.
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
23
26
23
24
25
17
Owner’s Manual
Atthemaximumcompression,thethresholdissetat
0dBu,andtheinputtooutputrelationshipis
representedbythelowercurve.Iftheinputis-5dBu
(thatis,belowthethreshold),theoutputis-5dBu.As
theinputreaches0dBu,theoutputisabitlessthan
0dBu.Iftheinputis+5dBu,theoutputisabout
+2dBu.Iftheinputreaches+10dBu,thentheoutput
is+3dBu.Noticetheshapelycurveofthesoftknee
betweenthediagonalslopeofx=yandthecompressor
slopeof6:1(thecompressionratio).
Theotherbluecurvesrepresentin-betweenpositions
ofthecompressorknob,withhigherthresholdsbefore
compressionbegins.
Outboardcompressorsoftenhavecontrolssuchas
compressionratio,threshold,softknee/hardknee,
attack time, and release time. These last two affect how
quicklythecompressorkicksinwhentheinputexceeds
thethreshold,andhowquicklyitisreleasedafterit
dropsbelowthethreshold.Inthiscompressor,these
parametersarespeciallychosentogiveyouthebest
overallperformance.
Adjustthethresholdcarefully,soyourdynamicrange
isstilllovely,withoutdistortionoroverloadduringthe
performance.Runthroughafewpracticescreamsand
high-notes,andadjustthecompressionasrequired.
26. Compressor
Eachofthelastfourmonochannelsinthe
VLZ44•Busmixerhasanin-linecompressorcircuit
withavariablethreshold.Thisisveryusefulfor 
compressionofvocals,andsnaredrums,forexample,
soyoumightconsiderconnectingyourmicrophones
anddrummicstothesechannels,ratherthanother
channels.
Whentheincomingsignalsexceedthethresholdlevel
setbythisknob,thesignallevelisautomatically
compressed.Thisreducesthedynamicrange,and
reducesthechanceofdistortionduetooverloadingthe
inputsignals.
Dynamic range is the difference in level
betweenthequietestandloudestpartsofa
song.Acompressor“squeezes”thedynamic
range,resultinginanoverallsteadier,moreconstant
volumelevelforthesignal.Ithelpssources,suchas
vocals,“sit”properlyinthemix;itisveryusefulforlive
sound.
Thecompressionratioisxedataround6:1,with
asoftkneeresponse.Thethresholdmaybeadjusted
clockwisefromoff(nocompression)to0dBu(max).
Asanexample,supposethethresholdissetto
maximum.Anincomingsignalreachesthethresholdof
0dBu.Asitincreasesbeyondthethreshold,itbecomes
compressedataratioof6:1.Thismeansthatevenifthe
inputfurtherincreasesby6dB,theactualoutputonly
increasesby1dB.Thiscompressestheoutputsignal,so
thereismoreprotectiontoyoursystemfromdistortion
andoverloadduetopoormicrophonetechnique(say
itain'tso)andgeneralpops,bangsandheavymetal
screaming.Thesoftkneemeansthatthecompression
slowlyrampsupto6:1fromthethreshold.Itdoesnot
jumpabruptlyto6:1,asthiswouldbehardknee
compression,andharderontheearstoo.
Thegraphonthispageshowstheinputsignallevel
goingintothecompressor,versustheoutputlevel
comingoutofit.Itisthetypicalgraphtoseewhen
compressorsarediscussed,andisjustthekindofthing
ourengineersliketodiscussduringthecompany
Christmasparty*.
Ifthecompressorisoff,thentheinput=output.For
exampleaninputsignallevelof+5dBuresultsinan
outputlevelof+5dBu.Thediagonallinefromlowerleft
toupperrightrepresentsx=y,thatis,input=output.
+20
-10
-5
+0
+5
+10
+15
+20-10 -5 +0
SLOPE 6:1
SOFT KNEE
SLOPE 1:1
+5 +10 +15
INPUT SIGNAL STRENGTH dBu
OUTPUT SIGNAL STRENGTH dBu
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
*MyHighSchoolmathteacher,Mr.Marvin,thoughtthat
graphsmightcomeinhandyformeoneday.Finally!
18
VLZ4 4•Bus
27. Aux Sends 1-6
Thesecontrolsallowyoutosetup
tosixindependentmixes,typically
forrunningstagemonitorsor
externaleffectsprocessors.
Thecontrolsareoffwhenturned
fullydown,deliverunitygainatthe
center,andcanprovideupto15dB
ofgainturnedfullyup.Chancesare
thatyouwillneverneedthisextra
gain,butit'snicetoknowthatit's
thereifyoudo.
AuxSends1-6[13]areline-level
outputs,andareusedifyouwant
toconnectexternalprocessors,
poweredstagemonitors,orexternal
powerampswithpassivestage
monitors.StereoReturns1-2[5]
areline-levelinputs,typicallyused
toreturntheoutputfromexternal
processorsbacktothemainmix.
Carefullyadjusthowmuchofeach
channelappearsinyourauxmixes.
Forexample,ifyouarerunning
stage monitors, and someone wants
“moreme,andlessthem,”adjust
thesecarefully.
Auxsends3-4caneitherbepreor
postfader,dependingontheposition
oftheauxpre/postswitches[28].
Forstagemonitorwork,usepre,so
the stage monitors do not increase in
volumewhenthechannellevelisadjusted.Forexternal
processors,usepost.Inthisway,thefeedtoexternal
processorswillvarywiththechannellevel,keeping
theminthesameratio(wet/dry).
28. Pre-Fader / Aux Sends 1-2
Auxsends1-2arealwayspre-fader,designedfor
stagemonitorapplications.Auxsends3-4maybeset
topre-orpost-fader,sotheymaybeusedformonitors
or effects.
Pre-fader:withthepreswitchengaged(pressedin,
notcommitedtomarriage),aux3and4deliversignals
post-insert,post-lowcut,postEQ,post-muteand
pre-fader.Anychangesmadetothechannelcontrols,
exceptthefader,willaffecttheauxsendsignal.
Post-fader:withthepreswitchdisengaged(up),
aux3and4deliversignalspost-insert,post-lowcut,
post-mute,post-EQandpost-fader.Anychangesmade
tothechannelcontrolswillaffecttheauxsendsignal.
29. Int FX 1-2 / Aux Sends 5-6
Thesecontrolshavedualfunctionsdependingon
whatyourneedsareatanygiventime.Theyallowyou
tosendsignaleithertointernaleffectsFX1andFX2,or
toaux5andaux6,typicallyusedforrunningstage
monitorsorexternaleffectsprocessors.
AuxSends5-6(orFX1-2)arepost-fader.Anychanges
made to the channel controls will affect the signal going
totheinternaleffectsprocessorsortotheaux5-6
outputjacks[13].Adjustmentstothechannelfader
[43],gain[23]andchannelEQ[31-36]willaffectthe
feedgoingtotheinternaleffectsprocessors.
30. Int FX / Aux 5-6 Switch
Thisswitchdeterminesifthatchannel'scontrols
[29,above]willbeusedforrunningtheinternaleffects
processors(engaged)orasaux5-6(disengaged).
Channel Equalization (EQ)
All VLZ44•Busmonochannelshave3-bandEQwith
shelvinghigh,peakingmidwithadjustablemid
frequencyandshelvinglow.Thestereochannelshave
peakinghi-midandpeakinglow-midEQcontrolsin
additiontotheshelvinghighandshelvinglowEQ
controls.
Shelvingmeansthatthecircuitryboostsorcutsall
frequenciespastthespeciedfrequency.Forexample,
thelowEQboostsbassfrequenciesbelow80Hzand
continuingdowntothelowestnoteyouneverheard.
Peakingmeansthatcertainfrequenciesforma“hill”
aroundthecenterfrequency.
WithtoomuchEQ,youcanreallyupsetthings.
We’vedesignedalotofboostandcutintoeach
equalizercircuitbecauseweknowthateveryone
willoccasionallyneedthat.ButifyoumaxtheEQ
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).Ifyoundyourselfrepeatedlyusinga
lotofboostorcut,consideralteringthesoundsource,
suchasplacingamicdifferently,tryingadifferentkind
of mic, a different vocalist, changing the strings, or
gargling.
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
27
28
29
31
32
33
34
30
Mono channel
19
Owner’s Manual
31. High EQ
ThehighEQprovidesupto
15dBofboostorcutabove
12kHz,anditisalsoat(no
boostorcut)atthedetent.
Useittoaddsizzletocymbals,
an overall sense of
transparency,oranedgeto
keyboards,vocals,guitarandbaconfrying.Turnitdown
alittletoreducesibilanceortomasktapehiss.
32. Mid EQ And 33. Freq (Mono Channels Only)
Themonochannelsemploy
asemi-parametricmid-sweep
EQ.Thegain(upto15dBof
boostorcut)issetviathemid
eq[32],andthen“aimed”ata
specicfrequency,from
100Hzto8kHz,viafreq[33].
34. Low EQ
ThelowEQprovidesupto
15dBofboostorcutbelow
80Hz.Thecircuitisatat
thecenterdetentposition.
Thisfrequencyrepresentsthe
punchinbassdrums,bass
guitar,fatsynthpatches,and
somereallyseriousmalesingerswhoeatrawbeeffor
breakfast.
35. High Mid EQ Level (Stereo Channels Only)
ThehighmidEQprovides
upto15dBofboostorcut
at2.5kHz,anditisatat
thedetent.MidrangeEQis
oftenthoughtofasthemost
dynamicbecausethe
frequenciesthatdeneany
particularsoundarealmostalwaysfoundwithinthis
range.Forexample,thefemalevocalrangeaswell
asthefundamentalsandharmonicsofmany
higher-timbredinstruments.
36. Low Mid EQ Level (Stereo Channels Only)
ThelowmidEQprovidesup
to15dBofboostorcutat
400Hz,andisatatthe
detent.Frequenciesaffected
typicallyincludethemale
vocal range as well as the
fundamentalsandharmonics
ofmanylower-timbredinstruments.
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
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
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
Stereo channel
27
28
29
31
35
36
34
37
43
30
38
41
42
39
40
37. Pan
Thiscontrolallowsyoutoadjust
howmuchofthechannelsignal
issenttotheleftversustheright
outputs.
Withtheknobpannedhardleft,
the signal feeds the main left,
group1,orgroup3busses,
dependingonthesettingofthe
assign switches [42]. With the knob
pannedhardright,thesignalfeeds
themainright,group2,orgroup4
busses,againdependentonthe
setting of the assign switches [42].
Thebalancecontrolemploysa
designcalled“ConstantLoudness.”
Ifyouhaveachannelpannedhard
left(orright)andthenpantothe
center,thesignalisattenuated
about3dBtomaintainthesame
apparentloudness.Otherwise,it
wouldmakethesoundappearmuch
louderwhenpannedcenter.This
controlisproperlycalled“BAL”for
balance in the stereo channels.
38. Mute
Muteswitchesdojustwhatthey
soundliketheydo.Theyturnoffthe
signalby“routing”itintooblivion.
Engagingachannel'smuteswitch
(almost)providesthesameresults
asturningthefaderalltheway
down(apre-auxsendisnotaffected
bythechannelfader,butitisby
themuteswitch).Anychannel
assignmentstomainmix,group1-2,
orgroup3-4willbeinterruptedand
alloftheauxsendswillbesilenced
(bothpre-andpost-fader).The
channelinsert[3]willcontinueto
provideasignalwhenachannel
ismuted.TheOLLED[39]will
illuminatewhenachannel'smute
switch is engaged.
39. OL LED
ThisLEDindicatesthechannel’s
signallevelafterthegainandEQ
controls,butjustbeforethe
channel’slevel.Soevenifthelevel
isturneddown,youcanseeifthe
channel is being overloaded.
20
VLZ4 4•Bus
TheOL(overload)LEDwillcomeonwhenthe
channel’sinputsignalistoohigh.Thisshouldbe
avoided,asdistortionwilloccur.IftheOLLEDcomes
onregularly,checkthatthegaincontrol[23]isset
correctlyforyourinputdevice,andthatthechannel
EQisnotsetwithtoomuchboost.TheOLLEDwill
alsoilluminatewhenachannel'smuteswitch[38]is
engaged.
40. SIG LED
ThisLEDalsoindicatesthechannel’ssignallevel
afterthegainandEQcontrols,butjustbeforethe
channel’slevel.Soevenifthelevelisturneddown,you
canseeifasignalispresent.
TheSIG(signal)LEDwillcomeonwhenthe
channel’sinputsignal(atleast-20dBu)ispresent.
Itshouldilluminatenon-stopifsignalabove0dBuis
presentinthatchannel.ThisLEDwillbesolidwhena
channel'ssoloswitch[41]isengaged.
41. Solo
Wheneverachannel'ssoloswitchisengaged,you
willhearonlythesoloedchannel(s)intheheadphones
andmonitoroutputs.Thisgivesyoutheopportunityto
auditionthechannelsbeforetheyareaddedtothemain
mix.InPFLmodeyoucanhearthesolosignal,even
whenthechannel'sfaderisdown.
Soloisalsousedtosetthegainofeachchannel
correctly.Whenachannelissoloed,adjustthe
channelgain[23]untiltheinputsourcereaches
thelevelofthe0dBLEDoftheleftmeter.Select
PFLontheSOLOMODEswitch[60]forgainsetting.
Solosignalsreachingtheheadphonesand
monitoroutputsarenotaffectedbythe
channellevel(unlesstheSOLOMODEswitch
issettoAFL)ormainlevel;therefore,turndownthe
phoneslevel[69]andmonitorlevel[68]rst,assoloed
channelsmaybeloud.
Therudesololight[59]willturnonasareminder
thatwhatyouarelisteningtointheheadphonesand
controlroomisjustthesoloedchannel(s),2-track
return,stereoreturn(s),aux(es),and/orgroup(s).If
thesolosourceisaninputchannel,thatchannel'sSIG
(signal)LED[40]willilluminatewhenthatchannelis
soloed.
42. Assign
Alongsideeachchannelfaderarethreebuttons
referred to as channel assignment switches. Used in
conjunctionwiththechannel'sbalanceknob[37],they
areusedtodeterminethedestinationofthechannel's
signal.
Withthepanknobatthecenterdetent,theleftand
rightsidesreceiveequalsignallevels(mainmixL-R,
group1-2,andgroup3-4).Tofeedonlyonesideorthe
other,turnthepanknobaccordingly.
Ifyouaredoingamixdowntoa2-track,forexample,
simplyengagethemainmixswitchoneachchannel
thatyouwanttohear,andtheywillbesenttothemain
mixbus.Ifyouwanttocreateagroupofcertain
channels, engage either the 1-2 or 3-4 switches instead
ofthemainmix,andtheywillbesenttotheappropriate
groupfaders.Fromthere,thegroupsmaybesentback
tothemainmix(usingthegroupassignswitches[73]
abovethegroupfaders[74]),allowingyoutousethe
groupfadersasamastercontrolforthosechannels.
Ifyouarecreatingnewtracksorbouncingexisting
ones,youwillalsousethe1-2and3-4switches,butnot
themainmixswitch.Hereyoudonotwantthegroups
sentbackintothemainmixbus,butsentout,viathe
groupoutjacks[11],toyourmultitrackinputs.
43. Channel Fader
Thisisthelastcontrolinachannel’ssignalpath,and
itadjuststhelevelofeachchannelontothemainmix.
The“U”markindicatesunitygain,meaningnoincrease
ordecreaseofsignallevel.Allthewayupprovidesan
additional10dB,shouldyouneedtoboostasectionof
asong.Ifyoundthattheoveralllevelistooquietor
tooloudwiththelevelnearunity,checkthatthegain
control [23] is set correctly.
44. FX1 and FX2
Whenengaged,theseswitches,locatedjustbelowthe
stereochannels'gaincontrols[23],indicatethatyou
wanttoreturntheinternalFXprocessorsignaltothe
stereochannel.TheTRSinputsaredisengagedwhen
theswitchisdepressed.
RemembertoturntheFXprocessorlevel
controlstoaux1/2andmainallthewaydown
toavoiddouble-bussingtheFXreturn.
SeeAppendixE(page37)foralistoftheeffects
providedandadescriptionofeachone.
45. USB Switch
TheUSBswitchonthelaststereochannelprovides
stereoplaybackofiTunes
®
, or a DAW via the USB
connection.Likeanyotherinput,thissignalmayalso
beEQ'd,senttoanauxbus,ormixedinwiththeother
signalsandassignedtosubgroupsormainouts.This
switchoverridesboththeTRSinputs[5]andtheFX2
switch [44].
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Mackie 2404VLZ4 24 Channel 4 Bus Mixer User manual

2404VLZ4 24 Channel 4 Bus Mixer
Mackie
Brand
Mackie
Model
2404VLZ4 24 Channel 4 Bus Mixer
Category
Audio mixers
Type
User manual
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