Mackie 2404 User manual

Brand: Mackie

Model: 2404

Category: Audio mixers

Type: User manual

VLZ4 4•Bus

OWNER’S MANUAL

24-/32-Channel 4-Bus FX Mixer with USB

POWER

PHANTOM

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

MONO

STEREO RETURNS

BAL / UNBAL

31/32 29/30

BAL / UNBALBAL / UNBAL

MONITOR

MONO

MONITOR

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

USB

TAPE

OUTIN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

BAL / UNBAL BAL / UNBAL BAL / UNBAL

202122232425262728

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.

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.

Owner’s Manual

Part No. SW0974 Rev. B 06/13

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

Like us

Watch our dang videos

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.

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!

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.

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

PHANTOM

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

MONO

STEREO RETURNS

BAL / UNBAL

21/22 23/24

BAL / UNBALBAL / UNBAL

MONITOR

MONO

MONITOR

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

USB

TAPE

OUTIN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

BAL / UNBAL BAL / UNBAL BAL / UNBAL

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.

power

input

reverb mastergain treble middle

bass

volume channel

gain treble middle bass volume

off

standby

TDSK

half

full

ultra hi / lo

master standby

standby/

power/

fault

powertreblefrequencymidrangebassgain

-15dB0dB

LINE

MIC

R R

PGM 2

MAIN OUT MIC

L LLLL R

PHONO CD

SEND

BOOTH

GND

LINE

PHONO

RETURN

L(MONO)

LIVE

RECORD

PGM 1

LINE

PHONO

GND

PHONO CD

R R

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

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)

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

PHANTOM

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

MONO

STEREO RETURNS

BAL / UNBAL

21/22 23/24

BAL / UNBALBAL / UNBAL

MONITOR

MONO

MONITOR

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

USB

TAPE

OUTIN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

BAL / UNBAL BAL / UNBAL BAL / UNBAL

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.

power

input

reverb mastergain treble middle

bass

volume channel

gain treble middle bass volume

off

standby

TDSK

half

full

ultra hi / lo

master standby

standby/

power/

fault

powertreblefrequencymidrangebassgain

-15dB0dB

Laptop

Computer

with audio

production

software

MR8mk3

Powered Reference

Monitors L/R

Headphone Amp

Headphones

Chris

on keys

Francis

on bass

Amplifier

modeler

Box

Dustin

on drums

desTROYer

on six-string

Anthony on

lead vox

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

PHANTOM

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

MONO

STEREO RETURNS

BAL / UNBAL

21/22 23/24

BAL / UNBALBAL / UNBAL

MONITOR

MONO

MONITOR

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

USB

TAPE

OUTIN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

BAL / UNBAL BAL / UNBAL BAL / UNBAL

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.

16 11

17 12

22 7 7 9 18

21 19

415

10888 6

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

PHANTOM

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

MONO

STEREO RETURNS

BAL / UNBAL

21/22 23/24

BAL / UNBALBAL / UNBAL

MONITOR

MONO

MONITOR

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

USB

TAPE

OUTIN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

BAL / UNBAL BAL / UNBAL BAL / UNBAL

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.

16 11

17 12

22 7 7 9 18

21 19

415

10888 6

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

PHANTOM

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

MONO

STEREO RETURNS

BAL / UNBAL

21/22 23/24

BAL / UNBALBAL / UNBAL

MONITOR

MONO

MONITOR

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

USB

TAPE

OUTIN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

BAL / UNBAL BAL / UNBAL BAL / UNBAL

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.

16 11

17 12

22 7 7 9 18

21 19

415

10888 6

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

PHANTOM

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

MONO

STEREO RETURNS

BAL / UNBAL

21/22 23/24

BAL / UNBALBAL / UNBAL

MONITOR

MONO

MONITOR

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

USB

TAPE

OUTIN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

BAL / UNBAL BAL / UNBAL BAL / UNBAL

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.

16 11

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22 7 7 9 18

21 19

415

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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

PHANTOM

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

MONO

STEREO RETURNS

BAL / UNBAL

21/22 23/24

BAL / UNBALBAL / UNBAL

MONITOR

MONO

MONITOR

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

USB

TAPE

OUTIN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

BAL / UNBAL BAL / UNBAL BAL / UNBAL

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.

16 11

17 12

22 7 7 9 18

21 19

415

10888 6

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

PHANTOM

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

MONO

STEREO RETURNS

BAL / UNBAL

21/22 23/24

BAL / UNBALBAL / UNBAL

MONITOR

MONO

MONITOR

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

USB

TAPE

OUTIN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

TIP SEND

RING RETURN

BAL / UNBAL BAL / UNBAL BAL / UNBAL

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.

16 11

17 12

22 7 7 9 18

21 19

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Owner’s Manual

VLZ4 4•Bus Features

Front Panel - Channel Strip

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

PAN

L R

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

FREQ

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

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

SIG/OL

SOLO

SOLO MODE

SOLO

PFL

AFL

AUX

CH 1-2 CH 3-4

AUX 5-6

PWR

RUDE SOLO

48V

USB OUT

SUBS 3-4

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

12k

MID

2.5k

LOW

MID

400Hz

MID

2.5k

-15 +15

LOW

80Hz

LOW

MID

400Hz

LOW

80Hz

-15 +15

12k

+15

+20

+15

-15 +15

-20 +20

AUX MASTER

STEREO RETURNS

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

EQ EQ EQ

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

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

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

23/24

MUTE

ALT 3-4

GAIN

GAIN LINE GAIN LINE GAIN

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

50%

100%0%

25% 75%

23 23

24 4444

25 4526

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.

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

PAN

L R

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

FREQ

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

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

SIG/OL

SOLO

SOLO MODE

SOLO

PFL

AFL

AUX

CH 1-2 CH 3-4

AUX 5-6

PWR

RUDE SOLO

48V

USB OUT

SUBS 3-4

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

12k

MID

2.5k

LOW

MID

400Hz

MID

2.5k

-15 +15

LOW

80Hz

LOW

MID

400Hz

LOW

80Hz

-15 +15

12k

+15

+20

+15

-15 +15

-20 +20

AUX MASTER

STEREO RETURNS

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

EQ EQ EQ

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

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

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

23/24

MUTE

ALT 3-4

GAIN

GAIN LINE GAIN LINE GAIN

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

50%

100%0%

25% 75%

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

+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!

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.

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

PAN

L R

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

FREQ

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

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

SIG/OL

SOLO

SOLO MODE

SOLO

PFL

AFL

AUX

CH 1-2 CH 3-4

AUX 5-6

PWR

RUDE SOLO

48V

USB OUT

SUBS 3-4

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

12k

MID

2.5k

LOW

MID

400Hz

MID

2.5k

-15 +15

LOW

80Hz

LOW

MID

400Hz

LOW

80Hz

-15 +15

12k

+15

+20

+15

-15 +15

-20 +20

AUX MASTER

STEREO RETURNS

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

EQ EQ EQ

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

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

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

23/24

MUTE

ALT 3-4

GAIN

GAIN LINE GAIN LINE GAIN

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

50%

100%0%

25% 75%

Mono channel

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.

100

10k

20k

–15

–10

–5

+10

+15

100

10k

20k

–15

–10

–5

+10

+15

100

10k

20k

–15

–10

–5

+10

+15

100

10k

20k

–15

–10

–5

+10

+15

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

PAN

L R

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

MID

200 2k

800

100 8k

FREQ

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

PAD

-20dB

LOW CUT

100 Hz

GAIN

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

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

SIG/OL

SOLO

SOLO MODE

SOLO

PFL

AFL

AUX

CH 1-2 CH 3-4

AUX 5-6

PWR

RUDE SOLO

48V

USB OUT

SUBS 3-4

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

12k

MID

2.5k

LOW

MID

400Hz

MID

2.5k

-15 +15

LOW

80Hz

LOW

MID

400Hz

LOW

80Hz

-15 +15

12k

+15

+20

+15

-15 +15

-20 +20

AUX MASTER

STEREO RETURNS

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

EQ EQ

12k

-15 +15

LOW

80Hz

-15 +15

FREQ

MID

200 2k

800

100 8k

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

MUTE

PAN

L R

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

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

1-2

3-4

L R

-20

SOLO

3-4

L R

-20

SOLO

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

AUX 5/6

PRE

FX1

FX2

PRE

+15

AUX

+15

23/24

MUTE

ALT 3-4

GAIN

GAIN LINE GAIN LINE GAIN

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

-20dB +40dB

60U

4020

50%

100%0%

25% 75%

Stereo channel

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.

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 2404 User manual

Brand: Mackie

Model: 2404

Category: Audio mixers

Type: User manual

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Mackie 2404 User manual

Mackie 2404 User manual

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