Transcript
5
5
6
4
4
4
4
3
BAL / UNBAL
AUX SENDS
3
POWER ON
2
2
2
BAL / UNBAL
SUBGROUP OUTS
2
TIP SEND, RINGRETURN
1
1
1
1
PHANTOM ON
SUBGROUP INSERTS
AUX INSERTS
3
3
TIP SEND, RING RETURN
100 - 240 V 50 - 60 Hz 55W
R
L
MONITOR
6
MONO
MONITOR
2
2
29/30
BAL / UNBAL
L
L
1
TALKBACK MIC
R
MONO
1
BAL / UNBAL
STEREO RETURNS
R
MONO
31/32
BAL / UNBAL
28
28
28
LINE
BAL / UNBAL
INSERT
TIP SEND RING RETURN
RIGHT
27
ONYX MIC PREAMPS
27
LINE (BAL / UNBAL)
27
INSERTS (TIP SEND, RING RETURN)
MAIN OUT
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INSERT
TIP SEND RING RETURN
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25
BAL / UNBAL
LINE
LEFT
24
24
24
MAIN OUT
23
23
23
TIP SEND RING RETURN
INSERT
22
22
22
BAL / UNBAL
LINE
MONO
21
21
21
MAIN OUT
20
20
20
+6
LEVEL
U
OUTPUT
19
19
19
18 OUT
TAPE L
R
L
R UNBALANCED
IN
18
18
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USB
16
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2 REVISION
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
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.
REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
1
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC
SERIAL NUMBER
ONYX MIC PREAMPS
1
LINE (BAL / UNBAL)
1
INSERTS (TIP SEND, RING RETURN)
2
2
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
3
3
3
VLZ4 4•Bus
24-/32-Channel 4-Bus FX Mixer with USB OWNER’S MANUAL
Important Safety Instructions 1. Read these instructions. 2. Keep these instructions. 3. Heed all warnings. 4. Follow all instructions. 5. Do not use this apparatus near water. 6. Clean only with a dry cloth. 7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11. Only use attachments/accessories specified by the manufacturer. 12. Use only with a cart, stand, tripod, bracket, or PORTABLE CART WARNING 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 powersupply 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. 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 PAS 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.
2
VLZ4 4•Bus
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: Duration, per day in hours 8 6 4 3 2 1.5 1
Sound Level dBA, Slow Response 90 92 95 97 100 102 105
0.5 110 0.25 or less 115
Typical Example Duo in small club Subway Train Very loud classical music Matt screaming at Troy about deadlines Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
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 cooperation 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.
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
Part No. SW0974 Rev. B 06/13 ©2013 LOUD Technologies Inc. All Rights Reserved. Based off of the highly recommended book, 246 Ways to Clean a Cat Box.
41. Solo........................................................ 20 42. Assign.................................................... 20 43. Channel Fader......................................... 20 44. FX1 And FX2.......................................... 20 45. USB Switch............................................. 20 2-Track, USB, Aux Masters And Meters................ 21 46. Lamp...................................................... 21 47. Suck Knob............................................... 21 48. 2-Track Return Level................................ 21 49. 2-Track Return Solo................................. 21 50. 2-Track Return Tape/USB........................ 21 51. USB Out................................................. 22 52. Master Aux Sends 1-6............................. 22 53. Master Aux Sends Solo............................ 22 54. Stereo Returns 1-2 To Aux 1-4/Main....... 22 55. Stereo Returns Solo................................. 22 56. 48V Led.................................................. 22 57. Power Led.............................................. 22 58. Left/Right Level Meters.......................... 23 59. Rude Solo Light....................................... 23 60. Solo Mode.............................................. 23 Stereo Effects Processors, Headphones, Talkback, .... Main And Groups Mix............................................ 24 61. FX1 And FX2 Send Master....................... 24 62. FX1 And FX2 To Aux 1/Aux 2/Main........ 24 63. Sig/OL LED............................................. 24 64. Preset Display......................................... 24 65. Preset Selector, Tap Delay And LED........... 25 66. Internal FX Mute..................................... 25 67. Solo Level............................................... 25 68. Monitor Level.......................................... 26 69. Phones Level........................................... 26 70. Talkback Level......................................... 26 71. Push To Talk: Main, Aux 1-4.................... 26 72. Compressor............................................. 26 73. Groups Assign......................................... 26 74. Group 1-4 Faders.................................... 27 75. Main Mix................................................ 27 Appendix A: Service Information............................. 28 Appendix B: Connections......................................... 28 Appendix C: Technical Information........................... 31 Appendix D: USB.................................................... 37 Appendix E: Table of Effects Presets........................ 38 Limited Warranty................................................... 39
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Owner’s Manual
3
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 filter 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 finish • High-visibility, high-contrast controls deliver convenient “at-a-glance” visual feedback • Universal power supply for worldwide use
4
VLZ4 4•Bus
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 find illustrations with each feature numbered and described in nearby paragraphs. This icon marks information 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.
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 flexibility on the four recordable signals. The default switch configuration 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 fine 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.
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 finger. And because we love flexible 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!
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). Owner’s Manual
5
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 amplifier (with speakers already attached) or to the line level inputs of powered speakers.
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 amplifiers or powered speakers first. When powering up, turn them on last. This will reduce the chance of turn-on or turn-off thumps. • Save the shipping box!
6
VLZ4 4•Bus
Hookup Diagrams desTROYer on six-string
Francis on bass
Turntables with phono-level output
1
2
3
4
5
hi
ks pb no
jd pa jh
gain
-15dB
ultra hi / lo
bass
midrange
frequency
treble
master
standby
Dustin on drums
DI Box
standby/ power/ fault
lo
0dB
power
Anthony on lead vox d.2 Pro DJ mixer
BOOTH
MAIN OUT L
R
LINE MIC
LIVE RECORD
L
FX SEND
L
L
R
L(MONO)
PGM 1
PGM 2 R
PHONO
L
CD
R
RETURN
PHONO
L
L
R
R
CD
MIC L
R
R LINE PHONO
GND
LINE PHONO
GND
1
full
2
R treble
middle
bass
volume
channel
1
gain
treble
middle
bass
volume
reverb
master
on standby
TDSK
gain
input
half
off
power
2
Headphones Chris on keys MR8mk3 Powered Reference Monitors L/R
MONITOR
21/22
SUBGROUP INSERTS
TIP SEND, RINGRETURN
L
4
3
R
4
3
2
23/24
BAL / UNBAL
1
MONO
BAL / UNBAL
2
20
AUX INSERTS
5
4
6
5
4
TIP SEND, RING RETURN
3
Laptop Computer with audio production software
INSERTS (TIP SEND, RING RETURN)
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
LINE (BAL / UNBAL)
1
20
R
6
INSERTS (TIP SEND, RING RETURN)
BAL / UNBAL
L MONO
SUBGROUP OUTS
MONITOR
LINE (BAL / UNBAL)
1
STEREO RETURNS
2
1
2
2
1
2
BAL / UNBAL
1
ONYX MIC PREAMPS
ONYX MIC PREAMPS
L MONO
AUX SENDS BAL / UNBAL
3
1
R
POWER ON
PHANTOM ON
18
19
20 100 - 240 V 50 - 60 Hz 55W
RIGHT
TALKBACK MIC INSERT
LINE
16
17
LEFT
MAIN OUT INSERT
LINE
15
MONO INSERT
IN OUTPUT U
+6
TIP SEND RING RETURN
BAL / UNBAL
TIP SEND RING RETURN
BAL / UNBAL
TIP SEND RING RETURN
8
7
TAPE
MAIN OUT
LINE
9
10
11
12
13
14
MAIN OUT
LEVEL
6
5
4
3
1
2 SERIAL NUMBER
REVISION
OUT
L
L
R
R
USB
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
BAL / UNBAL
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. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
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.
UNBALANCED
Monitor EQ (Aux Inserts 1-4)
SRM150 Powered Monitor for keyboard player (Aux Send 5)
SRM450v2 Powered Speakers for Stage Monitors (Aux Sends 1-4)
DLM12 Powered Speaker
DLM12 Powered Speaker
DLM12S Powered Subwoofer
DLM12S Powered Subwoofer
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.
Typical Live Sound System Owner’s Manual
7
Amplifier modeler desTROYer on six-string
MR8mk3 Powered Reference Monitors L/R
Francis on bass 1
2
3
4
5
hi
ks pb no
jd pa jh
Chris on keys
-15dB
gain
ultra hi / lo
bass
midrange
frequency
treble
Dustin on drums
standby/ power/ fault
lo
0dB
master
standby
power
DI Box
Headphones
1
full
2
gain
treble
middle
bass
volume
channel
1
gain
treble
middle
bass
volume
reverb
master
on standby
TDSK
input
half
off
power
2
Anthony on lead vox
Headphone Amp
MONITOR
21/22
SUBGROUP INSERTS
TIP SEND, RINGRETURN
L
4
3
R
4
3
2
23/24
BAL / UNBAL
1
MONO
BAL / UNBAL
2
20
AUX INSERTS
5
4
6
5
4
TIP SEND, RING RETURN
3
INSERTS (TIP SEND, RING RETURN)
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
LINE (BAL / UNBAL)
1
20
R
6
INSERTS (TIP SEND, RING RETURN)
BAL / UNBAL
L MONO
SUBGROUP OUTS
MONITOR
LINE (BAL / UNBAL)
1
STEREO RETURNS
2
1
2
2
1
2
BAL / UNBAL
1
ONYX MIC PREAMPS
ONYX MIC PREAMPS
L MONO
AUX SENDS
Laptop Computer with audio production software
BAL / UNBAL
3
1
R 19
20 100 - 240 V 50 - 60 Hz 55W
POWER ON
PHANTOM ON
RIGHT
TALKBACK MIC INSERT
LINE
LEFT
MAIN OUT INSERT
LINE
MONO
MAIN OUT INSERT
LINE
TAPE
MAIN OUT
IN OUTPUT U
+6
TIP SEND RING RETURN
BAL / UNBAL
TIP SEND RING RETURN
BAL / UNBAL
TIP SEND RING RETURN
LEVEL
1 SERIAL NUMBER
REVISION
OUT
L
L
R
USB
R
BAL / UNBAL
UNBALANCED
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
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. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
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.
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: first, 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.
Typical Recording System
8
VLZ4 4•Bus
VLZ4 4•Bus Features MONITOR
17 16 14 13
15
MONITOR MONO
R
4
3
5
12 11 2
4
3
4
TIP SEND, RING RETURN
3
BAL / UNBAL
2
2
23/24
BAL / UNBAL
1
INSERTS (TIP SEND, RING RETURN)
BAL / UNBAL
20
L
4
3 2
19
18
17
16
15
14
13
12
11
10
9
8
7
19
18
17
16
15
14
13
12
11
10
9
8
7
18
17
16
15
14
13
12
11
10
9
8
7
MONO
SUBGROUP OUTS
AUX INSERTS
6
21/22
SUBGROUP INSERTS
TIP SEND, RINGRETURN
L
1
R
LINE (BAL / UNBAL)
20
STEREO RETURNS
1
2
BAL / UNBAL
1
ONYX MIC PREAMPS
L
5
1
MONO
AUX SENDS BAL / UNBAL
6
5
4
3
2
1
2
1
R
19
20 100 - 240 V 50 - 60 Hz 55W
POWER ON
PHANTOM ON
RIGHT
TALKBACK MIC INSERT
22 20 21
19
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
LEFT
MAIN OUT
7
INSERT
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
MONO
MAIN OUT
7
INSERT
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
9
TAPE
MAIN OUT
IN OUTPUT U
+6
LEVEL
10
OUT
L
L
R
R
USB
18
6
UNBALANCED
Rear Panel - Connections 1. Mic Ins
Phantom Power
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 fidelity and headroom rivaling any standalone mic preamp on the market today. These circuits are e xcellent at rejecting hum and noise.
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.
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 preamplifiers to become line-level signals.
Phantom power may be selected by pressing up on the mixer's phantom [21] switch. Never plug single-ended (unbalanced) microphones, 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.
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.
2. Line Ins
See Appendix B (page 31) for further details and some rather lovely drawings of the connectors you can use with your mixer.
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
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 unbalanced lines to these inputs, use a 1⁄4" mono (TS) phone plug, wired as follows: Tip = Positive (+ or hot) Sleeve = Shield or ground Owner’s Manual
9
MONITOR
17 16 14 13
4
15
MONITOR MONO
3
12 11 2
4
5
TIP SEND, RING RETURN
4
3
20
4
3 2
19
18
17
16
15
14
13
12
11
10
9
8
7
19
18
17
16
15
14
13
12
11
10
9
8
7
18
17
16
15
14
13
12
11
10
9
8
7
MONO
2
AUX INSERTS
INSERTS (TIP SEND, RING RETURN)
BAL / UNBAL
L
BAL / UNBAL
3
23/24
BAL / UNBAL
1
SUBGROUP OUTS
R
6
21/22
SUBGROUP INSERTS
TIP SEND, RINGRETURN
L
1
LINE (BAL / UNBAL)
20
R
STEREO RETURNS
2
1
BAL / UNBAL
2
1
ONYX MIC PREAMPS
L
5
1
MONO
AUX SENDS BAL / UNBAL
6
5
4
3
2
1
2
1
R
19
20 100 - 240 V 50 - 60 Hz 55W
POWER ON
PHANTOM ON
RIGHT
TALKBACK MIC INSERT
22 20 21
19
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
INSERT
7
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
7
MONO
MAIN OUT INSERT
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
9
TAPE
MAIN OUT
IN OUTPUT U
+6
LEVEL
10
OUT
L
L
R
R
6
UNBALANCED
3. Insert
5. Stereo Returns 1-2
These unbalanced 1/4" jacks are for connecting serial effects processors such as compressors, equalizers, de-essers, or filters. The insert point is after the gain control [23] and low cut filter [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:
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.
tip
ring
SEND to processor
sleeve
(TRS plug)
This plug connects to one of the mixer’s Channel Insert jacks.
RETURN from processor
tip
ring
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 (figure 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.
10
LEFT
MAIN OUT
VLZ4 4•Bus
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-fi 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.
USB
18
MONITOR
17 16 14 13
15
MONITOR MONO
R
4
3
5
12 11 2
4
3
4
TIP SEND, RING RETURN
BAL / UNBAL
2
3
2
23/24
BAL / UNBAL
1
INSERTS (TIP SEND, RING RETURN)
BAL / UNBAL
20
L
4
3 2
19
18
17
16
15
14
13
12
11
10
9
8
7
19
18
17
16
15
14
13
12
11
10
9
8
7
18
17
16
15
14
13
12
11
10
9
8
7
MONO
SUBGROUP OUTS
AUX INSERTS
6
21/22
SUBGROUP INSERTS
TIP SEND, RINGRETURN
L
1
R
LINE (BAL / UNBAL)
20
STEREO RETURNS
1
2
BAL / UNBAL
1
ONYX MIC PREAMPS
L
5
1
MONO
AUX SENDS BAL / UNBAL
6
5
4
3
2
1
2
1
R
19
20 100 - 240 V 50 - 60 Hz 55W
POWER ON
PHANTOM ON
RIGHT
TALKBACK MIC INSERT
22 20 21
19
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
LEFT
MAIN OUT
7
INSERT
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
7
MONO
MAIN OUT INSERT
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
9
TAPE
MAIN OUT
IN OUTPUT U
+6
LEVEL
10
OUT
L
L
R
R
6
11. Group Outs 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 amplifiers, powered speakers, or serial effects processor (like a graphic equalizer or compressor/limiter). The XLR outputs are 6 dB hotter than the TRS outputs.
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 amplifiers in a complex installation.
8. Main Inserts These 1/4" TRS jacks are for connecting serial effects such as compressors, equalizers, deessers, or filters. 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.
18
UNBALANCED
7. Left/Right Main Outs: XLR & 1/4"
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 amplifier. These are the same signal that appears at the XLR main outputs, but 6 dB lower when the XLR is used balanced.
USB
12. Group Inserts These 1/4" TRS jacks are for connecting serial effects such as compressors, equalizers, de-essers, or filters. 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 amplifiers, or stage monitors. These could either be passive stage monitors powered by an external amplifier, or powered stage monitors with builtin power amplifiers. 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).
Owner’s Manual
11
MONITOR
17 16 14 13
15
MONITOR MONO
R
4
3
5
12 11 2
4
3
4
TIP SEND, RING RETURN
3
23/24
BAL / UNBAL
1
INSERTS (TIP SEND, RING RETURN)
BAL / UNBAL
20
L
4
3 2
19
18
17
16
15
14
13
12
11
10
9
8
7
19
18
17
16
15
14
13
12
11
10
9
8
7
18
17
16
15
14
13
12
11
10
9
8
7
MONO
SUBGROUP OUTS
AUX INSERTS
6
21/22
SUBGROUP INSERTS
TIP SEND, RINGRETURN
L
BAL / UNBAL
2
1
R
LINE (BAL / UNBAL)
20
STEREO RETURNS
2
1
2
BAL / UNBAL
1
ONYX MIC PREAMPS
L
5
1
MONO
AUX SENDS BAL / UNBAL
6
5
4
3
2
1
2
1
R
19
20 100 - 240 V 50 - 60 Hz 55W
POWER ON
PHANTOM ON
RIGHT
TALKBACK MIC INSERT
22 20 21
19
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
LEFT
MAIN OUT
7
INSERT
TIP SEND RING RETURN
14. Aux Inserts These 1/4" TRS jacks are for connecting serial effects such as compressors, equalizers, de-essers, or filters. 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 amplifier, powered speaker, headphone distribution amplifier, 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 amplifier, powered speaker, headphone distribution amplifier, 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].
12
VLZ4 4•Bus
8
LINE
BAL / UNBAL
7
MONO
MAIN OUT INSERT
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
9
TAPE
MAIN OUT
IN OUTPUT U
+6
LEVEL
10
OUT
L
L
R
R
6
UNBALANCED
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 first, 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 flexible 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, first 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.
USB
18
MONITOR
17 16 14 13
15
MONITOR MONO
R
4
3
5
12 11 2
4
3
4
TIP SEND, RING RETURN
3
BAL / UNBAL
2
2
23/24
BAL / UNBAL
1
INSERTS (TIP SEND, RING RETURN)
BAL / UNBAL
20
L
4
3 2
19
18
17
16
15
14
13
12
11
10
9
8
7
19
18
17
16
15
14
13
12
11
10
9
8
7
18
17
16
15
14
13
12
11
10
9
8
7
MONO
SUBGROUP OUTS
AUX INSERTS
6
21/22
SUBGROUP INSERTS
TIP SEND, RINGRETURN
L
1
R
LINE (BAL / UNBAL)
20
STEREO RETURNS
1
2
BAL / UNBAL
1
ONYX MIC PREAMPS
L
5
1
MONO
AUX SENDS BAL / UNBAL
6
5
4
3
2
1
2
1
R
19
20 100 - 240 V 50 - 60 Hz 55W
POWER ON
PHANTOM ON
RIGHT
TALKBACK MIC INSERT
22 20 21
19
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
LEFT
MAIN OUT
7
INSERT
TIP SEND RING RETURN
8
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 “flip” switch, so a “Tape” source (connected via RCA cables, such as an iPod®) or the USB signal from a computer (playing Windows Media Player® files, 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.
LINE
BAL / UNBAL
7
MONO
MAIN OUT INSERT
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
9
TAPE
MAIN OUT
IN OUTPUT U
+6
LEVEL
10
OUT
L
L
R
R
USB
18
6
UNBALANCED
In other words, if subgroups 1 and 2 are used to submix 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 finally, 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 flexible 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 confirm that the latest device drivers are currently in use.
Owner’s Manual
13
MONITOR
17 16 14 13
15
MONITOR MONO
R
4
3
5
12 11 2
4
3
4
TIP SEND, RING RETURN
3
23/24
BAL / UNBAL
1
INSERTS (TIP SEND, RING RETURN)
BAL / UNBAL
20
L
4
3 2
19
18
17
16
15
14
13
12
11
10
9
8
7
19
18
17
16
15
14
13
12
11
10
9
8
7
18
17
16
15
14
13
12
11
10
9
8
7
MONO
SUBGROUP OUTS
AUX INSERTS
6
21/22
SUBGROUP INSERTS
TIP SEND, RINGRETURN
L
BAL / UNBAL
2
1
R
LINE (BAL / UNBAL)
20
STEREO RETURNS
2
1
2
BAL / UNBAL
1
ONYX MIC PREAMPS
L
5
1
MONO
AUX SENDS BAL / UNBAL
6
5
4
3
2
1
2
1
R
19
20 100 - 240 V 50 - 60 Hz 55W
POWER ON
PHANTOM ON
RIGHT
TALKBACK MIC INSERT
22 20 21
19
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
LEFT
MAIN OUT
7
INSERT
TIP SEND RING RETURN
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 first, before any external power amplifiers 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.
14
VLZ4 4•Bus
8
LINE
BAL / UNBAL
7
MONO
MAIN OUT INSERT
TIP SEND RING RETURN
8
LINE
BAL / UNBAL
9
TAPE
MAIN OUT
IN OUTPUT U
+6
LEVEL
10
OUT
L
L
R
R
6
UNBALANCED
Never plug single-ended (unbalanced) microphones, 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.
USB
18
4
VLZ4 4•Bus Features Front Panel - Channel Strip 15
GAIN
20
40
60 +40dB
40
U -20dB
PAD -20dB
AUX
60 +40dB
U -20dB
LOW CUT 100 Hz
+15
U
3
+15
U
3
3
+15
U
U
+15
U
U
U
U
AUX MASTER
2
U
+15
U
U
3
+15
U
+15
28
+15
PRE
PRE
U
U
5
U
+15
EQ
31
HI 12k -15
U
+15
-15
U
-15
-15
33
800
-15
100
U
8k
100
U
100
U
EQ
U
800
+15
-15
-15
U
-15
8k
100
U
800
800
+15
-15
100
U
200
8k
LOW 80Hz
36
U
2k 100
U
8k
LOW 80Hz
U
-15
+15
-15
-15
+15
+15
-15
PAN
PAN
+15
-15
PAN
+15
-15
PAN
-15
PAN
U
R
L
15
MUTE
dB 10
OL
dB 10
5
-20
5
U
10
40 50 60 OO
39 40
SOLO
43
1-2
5 10
30
LR
40 50 60 OO
R
L
17
R
L
18
MUTE
R
L
-15
19
MUTE
L
-15
MUTE
R
+15
U
+15
TO AUX 2
HI MID 2.5k
U
+15
U
+15
FX MASTER
+15
TO AUX 1
SOLO
U
U
+15
U
TAP DELAY
+15
MUTE
+15
TO AUX 2
MONITOR
U
U
U
MUTE +15
+15
TO LR
+15
TO LR
SUBGROUPS
PHONES
TALKBACK U
+15
+15
L
R
23/24
MUTE ALT 3-4
MUTE
FX 2 U
MAX COMP
OFF
STEREO
MAX COMP
OFF
MAX COMP
OFF
STEREO
MAX COMP
+15
LEVEL
BAL
21/22
20
PFL AFL
LOW 80Hz
+15
BAL
R
SOLO
MUTE ALT 3-4
SOLO
SOLO
SOLO
SOLO
PUSH TO TALK
LEFT
LEFT
LEFT
LEFT
AUX 1-4
RIGHT
RIGHT
RIGHT
RIGHT
2
3
MAIN
4
MAIN MIX
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
dB 10
dB 10
dB 10
dB 10
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
3-4
30
30
30
30
30
LR
40 50 60
40 50 60
40 50 60
40 50 60
40 50 60
OO
OO
OO
OO
OO
41 U
SOLO
5 10
1-2
3-4
42
LR
40 50 60
U
SOLO
1-2
20
20
3-4
L
SOLO
TO AUX 1
1
U
20 30
38
16
MUTE
5
R
2
SIG/OL
TAP DELAY
+15
37 L
1
SOLO MODE
U
LOW 80Hz
+15
+15
U
+15
OFF -15
RUDE SOLO +15
SOLO
LOW MID 400Hz
+15
LOW 80Hz
+15
U
LR
SOLO
FX MASTER
LOW MID 400Hz -15
+15
U
U
HI MID 2.5k
FREQ
20 30
HI 12k
+15
35
-15
2k
U
MID
+15
200
EQ
U
-15
10
LEVEL SET
+15
HI 12k
+15
FREQ
8k
LOW 80Hz
U
+15
U
SIG/OL
FX AUX 5/6
HI 12k
+15
FREQ 2k
EQ
U
MID
+15
200
+15
2 4
AUX 4
FX 1 FX2
FX AUX 5/6
HI 12k
MID
-15
2k
LOW 80Hz
+15
PAN
U
FREQ
8k
LOW 80Hz -15
-15
+15
200
2k
34
W z
800
+15
U
7
SOLO
U
6
FX2
FX AUX 5/6
HI 12k
+15
FREQ 200
EQ
U
MID
+15
FREQ 2k
U
MID
+15
200
EQ HI 12k
+15
32
800
+15
+15
+15
6
FX2
FX AUX 5/6
FX1 U
+15
6
5
+15
6
FX2
+15
U
U
4 2
+15
U
U
FX1
+15
7
+15
U
AUX 3
SOLO
+15
U
5
FX1 U
6
FX AUX 5/6
HI 12k
MID
-15
+15
U
20
5
+15
PRE
5
+15
FX2
FX AUX 5/6
EQ
U
U
6
FX2
+15
FX1 U
4
PRE
5
+15
6
30
+15
FX AUX 5/6
+15
FX1 U
4
PRE
U
FX1
FX2
FX AUX 5/6
+15
5
+15
4
PRE
U
6
FX2
U
+15
5
U
4
PRE
U
+15
6
EQ
+15
FX1
29
+15
4
PRE
5
FX1 U
4
4
LEFT RIGHT 0 dB=0 dBu
0 U
+15
U
4
PWR
48V
U
+15
4
+15
SUBS 3-4 AUX 5-6
AUX 2
SOLO
+15
U
SUBS 1-2 MAIN
+15
3
+15
3
+15
U
2
PRE
CH 3-4
10
U
+15
CH 1-2
STEREO RETURNS AUX 1
2
+15
PRE
+15
U
SOLO
+15
U
PRE U
USB OUT
TAPE USB
SOLO
+20
1
+15
3
+15
100%
1
PRE U
3
+15
0%
TO LR
U
2
U
3
+15
44 45
FX 2
75%
2-TRACK RETURN
U
AUX
PRE
+15
+20
1
+15
2
+15
44
U
PRE
50%
U
PRE U
2
-20
AUX
PRE
SUCK
12V 0.5A
MAX
1
+15
23 24
USB
U
PRE
+20
FX 1
1
U
2
-20
AUX
PRE
PRE
60 +40dB
OFF
U
+15
U
COMP
MAX
AUX
U
2
U -20dB
LINE GAIN
25%
LOW CUT 100 Hz
1
+15
PRE U
OFF
U
PRE U
60 +40dB
21 22
23
40
COMP
MAX
1
+15
2
27
OFF
20
LOW CUT 100 Hz
AUX
PRE U
PRE
U
MAX
1
PRE
U -20dB
COMP
U
1
+15
26
AUX U
40
LOW CUT 100 Hz
U
U
20
60 +40dB
COMP
AUX
U
U -20dB
LOW CUT 100 Hz
OFF
+15
40
LINE GAIN
30
U
20
60 +40dB
PAD -20dB
U
U
40
20
GAIN
30
U
20
19
GAIN
30
U
20
18
GAIN
30
U
24 25
LOW CUT 100 Hz
Q
O
23
17
GAIN
30
U
U -20dB
16
GAIN
30
30
OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
Owner’s Manual
15
15
AIN
23
40
40
U -20dB
60 +40dB
LOW CUT 100 Hz
24
LOW CUT 100 Hz
PAD -20dB
25
PAD -20dB
40
U -20dB
60 +40dB
PRE U
+15
COMP
2
PRE U
+15
3 U
+15
4 +15
PRE U
5
FX1 U
+15
6
FX2 +15
FX AUX 5/6
U
HI 12k
-15
U
+15
MID
-15
800
+15
FREQ 2k
100
U
8k
LOW 80Hz
-15
+15
N
L
OFF
60 +40dB
-20
MAX
U
+20
-20
Channel Controls
23 24
12V 0.5A
+20
U
PRE U
U
The vertical channel strips look very similar, and have only a few them. Each 2 2 2 differences between PRE PRE PRE channel +15 works independently, and just controls the +15 +15 signalsU plugged into theU inputs directly Ubehind it.
+20
USB
TO LR
AUX MASTE U
AUX U
AUX U
1 Low Cut 24.PRE
+15
FX 2
MAX
AUX
1
+15
OFF
U
PRE
PRE
FX 1
COMP
MAX
AUX
1
+15
OFF
U
1
LOW CUT 100 Hz
COMP
1
U
1
1
PRE
PRE
HI 12k
HI 12k
PRE
2
+15 +15 +15 All mono channels have a low-cut switch (often U U U referred to as a high-pass filter) that cuts bass 2 2 Hz at a rate of2 18 dB per octave. 2 frequencies below 100 PRE PRE PRE PRE
+15
HI 12k
HI 12k
HI 12k
25. Pad (-20 dB) Switch -15
3
+15
-15
+15
-15
PAN
PAN
PAN
17
16
MUTE
16
18
MUTE
MUTE
VLZ4 4•Bus
PAN
+15
-15
4 +15
U
5 +15
U
6 +15
FX U
SIG
+15
FX MASTER
+15
TAP DELAY
MUTE
OFF
MAX COMP
BAL SOLO
R
L
19
MUTE
BAL
+15
U
HI 12k
U U U In most cases, the pad switch will be HI disengaged. HI MID MID MID MID However, microphones and balanced2.5kline-level signals 2.5k Through the 1⁄4" line input of channels 1-20 that produce a higher output than usual may require -15 +15 -15 +15 -15 +15 -15 +15 +15 -15 +15 -15 +15 and channels 1-28 (3204VLZ4), there is 20 (2404VLZ4) that the gain control [23] is-15 turned way down. U UIf this is 800 800 800 800 800 dB of attenuation fully down FREQ and 40 dB of gainFREQ fully up, theFREQ case, engage the pad switch to allow LOW an additional LOW FREQ FREQ MID MID 200 2k 200 2k 200 2k 200 with unity 2kgain “U”200at 10:00.2k 400Hz 400Hz 20 dB at the input to the mic preamp. This prevents -15 preamp +15 -15 +15 better 100 8k 100 8k 100 8koverloading 100 the8kmicrophone 100 8k and provides U U U U U U the 1⁄4" lineUinput of channels 21/22 and Through gain XLR inputs, notLOW the LOW LOW LOWcontrol. The pad LOWonly applies to LOW LOW 23/24 (2404VLZ4) and 29/30 80Hz and 31/32 (3204VLZ4), 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 1/4" TRS inputs. there is 20 dB of attenuation fully down and 20 dB of -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 gain-15fully+15up, with unity gain “U” at 12:00. U
+15
U
+15
HI 12k
If the signal originates through the mic XLR jack, +15 -15 fully +15 down, -15 will +15be 0 dB of-15 there gain with the knob U U U ramping to 60 dB of gain fullyMID up. MID MID
+15
U
1
+15 +15 U We recommend that you useU low-cut on everyU +15 microphone application except kick drum, bass guitar, 3 3 3 3 These aside,3there isn’t much3 3 or bassy synth patches. “U” like+15Unity gain +15 +15 +15down there that +15you want to hear, +15 and filtering it+15 out U U U U U U U VLZ4 mixers have a “U” symbol on almost every level makes the low stuff you do want much more crisp and control. It stands for “unity gain,” 4 meaning no 4change in 4 Not only that,4but low-cut can 4help reduce the 4 4 tasty. signal level. The labels on the controls are measured in possibility of feedback in live situations, and it helps +15 +15 +15 +15 +15 +15 +15 decibelsPRE(dB), so you’ll PRE know what you’rePREdoing power. PRE PRE to conserve amplifier PRE PRE U U U U U level-wise if you chooseU to change a control’s settings. U Another way to consider low-cut’s function 5 5 5 5 5 5 5 is that it FX1 actually adds flexibility during live FX1 FX1 FX1 FX1 FX1 FX1 23. Gain Control performances. With the +15 +15 +15 +15 +15 addition of low-cut, +15 +15 U U U If you haven’t already,U please read theU getting started U you can safelyU use low equalization on vocals. Many section on page voices. 6 times, 6 6 6 bass shelving6EQ can really benefit 6 6 6. FX2 FX2 FX2 FX2 FX2 FX2 FX2 is, adding low EQ also boosts stage rumble, Trouble +15 +15 +15 +15 +15 +15 knobs adjust the The gain input sensitivity of the mic +15 mic handling FXclunks and breath FX FX FX FX pops from way-down FX FX and AUX line allows signals from 5/6 AUX 5/6the outside AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 5/6 inputs. ThisAUX Applying low-cut emoves all those problems, low. r world to be adjusted to run through each channel at EQ U EQ U EQ U so you can EQ add EQ U blowing your EQ subwoofers. EQ U low EQ without U optimalU internal operating levels. U
This 20 dB of attenuation can be very handy when you are inserting a hot signal, or when you want to add EQ gain,L or both. WithoutL this “virtual pad,” there is more L R R L R chance of channel clipping.
15
LINE GAIN
23
40
U -20dB
LOW CUT 100 Hz
AUX U
PAN
R
20
60 +40dB
COMP
MAX
AUX
U
40
U -20dB
LOW CUT 100 Hz
26
U
1
20
60 +40dB
U
U
21 22
U
AUX U
U -20dB
LOW CUT 100 Hz
OFF
UX
40
LINE GAIN
30
U
20
20
GAIN
30
U
20
19
GAIN
30
U
20
18
GAIN
30
U
60 +40dB
17
GAIN
30
30
U
U 20dB
16
GAIN
R
L
20
MUTE
R
L
21/22 MUTE ALT 3-4
MUTE
R
LEFT
23/24 MUTE ALT 3-4
RIGHT
1
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
STER
26. Compressor
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 fixed 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
COMP OFF
MAX
OFF
MAX
OFF
MAX
+15
OUTPUT SIGNAL STRENGTH dBu
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.
COMP
+10
+5
COMP
SLOPE 6:1 EE KN FT SO
+0
-5
:1 E1 OP SL
-10 -10
-5
+0
+5
+10
+15
+20
INPUT SIGNAL STRENGTH dBu
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.
* My High School math teacher, Mr. Marvin, thought that graphs might come in handy for me one day. Finally! Owner’s Manual
17
PAD -20dB
PAD -20dB
COMP OFF
AUX
AUX
AUX U
1
1
U
2
+15
+15
U
U
3
+15
U
+15
U
4
4
+15
28
+15
PRE
PRE
U
5
29
FX1 U
+15
FX1 U
+15
6
6
FX2
+15
EQ
+15
FX AUX 5/6
EQ
U
-15
U
+15
HI 12k -15
32
U
-15
800
+15
33
800
-15
U
8k
-15
+15
FREQ
L
+15
R
15
MUTE
dB 10
5
U
5
10
200
2k
1-2
20
30
3-4
40 50 60
LR
O
10
200
+15
U
+15
U
+15
+15
U
U
+15
800
-15
+15
-15
U
800
+15
-15
U
800
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
30. Int FX / Aux 5-6 5Switch 5
+15
U
+15
+15
+15
EQ
-15
U
+15
+15
1 6
5
+15
SOLO
SOLO
+15
U
U
+15
FX AUX 5/6
EQ
U
-15
U
+15
U
+15
+15
FX MASTER
TO AUX 1
All VLZ4 4•Bus mono channels have 3-band EQ with HI HI HI 12k shelving 12khigh, peaking 12k mid with adjustable mid TAP frequency and shelving low. The stereo channels have DELAY TO AUX 2 HI HI hi-mid and peaking low-mid EQ controls in peaking MID MID MID 2.5k addition to the shelving2.5khigh and shelving low EQ controls. MUTE
+15
A
+15
U
FX1
+15
FX AUX 5/6
U
+15
U
U
U
Channel Equalization (EQ) EQ
A
+15
U
FX AUX 5/6
+15
U
+15
This switch determines if that channel's controls FX 1 [29, above] will be used for running the internal effects 6 6 6 processors (engaged) FX2 or as aux 5-6 (disengaged). FX2 FX2 SIG/OL U
A
3
+15
FX1
+15
+15
U
+15
PRE
FX1
STEREO A
+15
PRE
U
12k
-15
+15
U
+15
U
+15
U
PRE
12k
+15
U
+15
U
+15
U
+15
Carefully adjust how much of each channel appears in your aux mixes. MID MID MID For example, if you are running stage monitors, and someone wants “moreFREQ me, and less them,” adjust FREQ FREQ these carefully. U
U
U
+15
+15
SOLO Aux Sends 5-6 (or FX1-2) are post-fader. Any changes 3 3 the signal going made to 3the channel controls will affect to the internal effects processors or to the aux 5-64 SOLO output jacks [13]. Adjustments to the channel fader 4 [23] and channel 4 4 [43], gain EQ [31-36] will affect the 5 feed going to the internal effects processors. SOLO
PRE
U
U
1
U
U
+15
PRE
2k
8k
100
-15
+15
L
R
100
34
PAN
U
U
SU
+15
-15
U
FX MAS
U
U
+15
+15
TAP DELAY
U
+15
-15
800
+15
-15
U
+15
-15
U
+15
LOW MID 400Hz
FREQ
MUTE
+15
LOW MID 400Hz
Shelving means that the circuitry boosts or cuts all TO LR SUBGROUPS frequencies past the specified frequency. For example, frequencies below 80 Hz and AuxLOW sends 3-4 canLOW either be pre LOW or the low EQ LOW boosts bassLOW LOW LOW LOW 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz down to the80Hzlowest note you never heard. continuing post fader, depending on the position OFF MAX OFF MAX OFF COMP COMP COM Peaking means that certain frequencies form a “hill” of the aux pre/post switches [28]. STEREO frequency. around the center work, PAN use pre, so PAN PAN BAL BAL PAN channelPAN For stage monitor Mono SOLO SOL SOLO the stage monitors do not increase in With too much EQ, you can really upset things. volume when the channel level is adjusted. For external We’ve designed a lot of boost and cut into each LEFT LEF LEFT processors, use post. In this way, the feed to external 21/22 23/24 equalizer circuit because we know that everyone 18 level, keeping 19 20 16 will vary 17 processors with the channel MUTE MUTE 3-4 ALTif 3-4you max the MUTE MUTE MUTE MUTE MUTE will occasionallyALTneed that. But RIGH RIGHTEQ RIGHT them in the same ratio (wet/dry). on every channel, you’ll get mix mush. Equalize 1 subtly 2 3 use the left sides of the knobs (cut), as well as the and OL OL OL OL OL OL OL OL dB dB dB dB dB dB dB dB dB Pre-Fader 28. /dB10 Aux Sends 1-2 repeatedly using a 10 10 10 10 right (boost). 10 If you find yourself 10 10 10 10 Aux sends 1-2 are always pre-fader, designed for lot of boost or cut, consider altering the sound source, 5 5 5 5 5 5 5 5 5 5 -20 -20 -20 -20 -20 -20 -20 -20 stage monitor applications. Aux sends 3-4 may be set such as placing a mic differently, trying a different kind U U U U U U toU pre- or post-fader, so they may be used forU monitors vocalist, Uchanging the strings, or U of mic, a different SOLO 5 SOLO 5 SOLO 5 SOLO 5 SOLO 5 SOLO 5 SOLO 5 SOLO 5 5 5 or effects. gargling.
2k 100
+15
Int FX 1-2 AUX/ Aux Sends AUX5-6
U
PRE
U
U
These controls have dual functions depending on SOLO 1 1any given time. 1 what your PRE needs are atPRE PRE They allow you 2 or to send signal either to internal effects FX1 and FX2, to aux 5 and aux 6, typically used for running stage SOLO 2 or external effects 2 2 monitorsPRE processors. PRE PRE
2
+15
12k
-15
FREQ
200
U
+15
MID
-15
+15
TO LR
AUX MASTER
U
+15
Aux Sends 1-6 [13] are line-level outputs, 5 and are used 5 if you want 5 FX1 FX1 FX1 to connect external processors, powered stage monitors, or external 6amps with passive 6 6 powerFX2 stage FX2 FX2 monitors. Stereo Returns 1-2 [5] FX FX FX AUXare 5/6 5/6 AUX 5/6 used line-levelAUXinputs, typically EQ to return the EQ output from EQexternal processors back to the HI HI main mix. HI
+15
MID
U
PRE
U
HI 12k
+15
TAPE USB
SOLO
+20
USB
MAX
29. AUX
AUX
2
+15
30
U
31
U
PRE
U
FX2 FX AUX 5/6
+15
U
U
5
OFF
The controls are off when turned fully down, deliver unity gain at the 3 up to 15 dB 3 center,3 and can provide of gain turned fully up. Chances are that you will never need this extra 4 it's nice to 4know that it's4 gain, but there if you do.
+15
3
MAX
COMP
U
PRE
PRE U
OFF
U
2
2
27
MAX
27. Aux Sends AUX 1-6
U
PRE U
OFF
COMP
These controls allow you to set up 1independent mixes, 1 1 typicallyPRE to six PRE PRE for running stage monitors or external effects processors.
PRE
+15
MAX
U
U
PRE U
COMP
U
200
2k
8k
100
-15
+15
L
R
10
U
10
200
2k
8k
100
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+15
L
R
U
OO
OO
VLZ4 4•Bus
8k
-15
-15
+15
L
R
100
-15
+15
L
R
10
OO
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.
18
2k
8k
U
Pre-fader:1-2 with the pre 1-2switch engaged 1-2 (pressed in,1-2 20 20 20 20 signals not commited to marriage), aux 3 and 4 deliver post-insert, cut, 3-4post30EQ, post-mute 30 30 and 30 3-4 3-4 3-4post-low Any changes made to the channel controls, pre-fader. 40 40 40 40 50 50 50 50 except the Lfader, will affect aux send L R the L R signal. LR R 60 60 60 60 OO
200
10
U
1-2
20
10
+15
-15
-15
+15
-15
+15
L
R
L
R
U
1-2
20
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U
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1-2
20
10
10
10
20
20
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30
3-4
30
3-4
30
3-4
30
30
30
40 50 60
LR
40 50 60
LR
40 50 60
LR
40 50 60
40 50 60
40 50 60
OO
OO
OO
OO
OO
OO
PAD -20dB
PAD -20dB
U
COMP OFF
31.AUX High EQ
AUX
U
MAX
OFF
AUX
AUX
COMP MAX
U
U
+15
+10 +5
U
+15
U
+15
U
+15
U
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U
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–5
–10
U
U
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U
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U
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U
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U
4
U
20Hz
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4
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100Hz
U
1kHz
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U
U
U
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U
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U
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U
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FX AUX 5/6
EQ
PRE
+15
34. Low EQ
EQ
U
5
5
U
–5
FX1
+15
U
–10
+15
6
–15 100Hz +15
FX2 1kHz
10kHz 20kHz +15
FX AUX 5/6
FX AUX 5/6
EQ
U
U
The low EQ provides up to 15 dB of boost or cut below MID MID MID 80 Hz. The circuit is flat at MID 0 the center detent position. This frequency represents the FREQ FREQ punch in bassFREQdrums, bass FREQ guitar, fat synth patches, and male singers who eat raw beef for some really serious LOW LOW LOW LOW 80Hz 80Hz 80Hz breakfast. 80Hz
HI 12k
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U
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+10 -15
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800
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200
2k 100
U
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z -15
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100
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800
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800
–15 200 20Hz
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100
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–10
200
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–5
+15
100
8k
-15
+15
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100Hz
U
-15
2k
800
200 1kHz
8k
+15
MID
-15
U
+15
R
The high mid EQ provides up to 15 dB of boost or cut at 2.5 kHz, and it is flat at 0 17 18 15 16 EQ is the detent. MUTE MUTE MUTE MidrangeMUTE often thought of as the most dynamic because the OL OL OL OL dB dB dB dB frequencies that define any 10 10 10 10 particular sound are almost always found within this 5 5 5 5 -20 -20 -20 -20 range. For example, the female vocal range as well U U U fundamentals and harmonics of many U as the SOLO 5 SOLO SOLO SOLO 5 5 5 higher-timbred instruments.
14
MUTE
L
R
L
+10
R
L
R
L
R
–5
–15
5 U 5 10 20 30 40 50 60 OO
20Hz
10
10
100Hz
10
1kHz
10
36.20Low Mid EQ Level (Stereo Channels Only)20 20 20
1-2
1-2
1-2
1-2
The low mid up 30 30 3-4 EQ30provides3-4 to 15 dB of boost or cut at 40 40 40 4005060Hz, and isL Rflat5060at the L R 5060 LR 0 detent. Frequencies affected typically include the male vocal range as well as the fundamentals and harmonics of many lower-timbred instruments.
3-4
+15
OO
SOLO
1-2
3-4
LR
40 50 60
LR
OO
–5
–10 –15
20Hz
100Hz
1kHz
10kHz 20kHz
1
PRE
U
+15
U
U
+15
U
+15
5
The balance control employs a design called “Constant Loudness.” 6 a channel panned 6 If you haveFX2 hard FX2 left (or right) and then pan to the FX FX FX AUX 5/6 the signalAUX center, is5/6attenuated AUX 5/6 about 3 dB to maintain the same EQ EQ EQ apparent loudness. Otherwise, it HI HI 12k 12k would make the sound appear much louder when panned center. This MID control is properly calledMID“BAL” for balance in the stereo channels. +15
U
800
+15
U
+15
+15
-15
+15
-15
38. Mute 200
U
800
+15
-15
+15
-15
U
U
200
8k
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-15
R
39. OL LED3-4
L
U
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8k
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-15
R
30
40 50 60
40
OO
OO
5
29
U
OO
FX 1 FX2
+15
FX AUX 5/6
EQ
30
+15
U
31
HI 12k -15
35
HI MID 2.5k
-15
36
U
U
TAP DELAY
+15
HI MID 2.5k +15
MUTE
LOW MID 400Hz
+15
-15
34
U
+15
LOW 80Hz
LOW 80Hz OFF -15
+15
MAX COMP
STEREO
BAL SOLO
L
R
38
23/24 MUTE ALT 3-4
OL
dB 10
-20
5
39 40
43
5 10
LEFT
RIGHT
1
OL
dB 10
d 1
-20
5
5
U
U
5
5
10
1
42
20
2
U
SOLO
SIG/OL
FX MASTER
HI 12k
37
SO
U
6
FX2
41
SOLO
1-2
20
3-4
30
3-4
30
3
LR
40 50 60
LR
40 50 60
4 5 6
40
50 50 This LEDL R indicates theL Rchannel’s 60 60 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.
+15
+15
6
1-2
6
FX1
R
30
U
5
FX1
20
3-4
SO
+15
U
+15
L
20
30
U
5
28
PRE
SO
+15
4 +15
LOW MID 400Hz
2k 100
4
+15
FREQ
4 U
+15
Mute switches do just what they LOW LOW sound like80Hz they do. They80Hz turn off the signal by “routing” it into oblivion. Engaging a channel's mute switch PAN PAN BAL provides the same results (almost) as turning the fader all the way down (a pre-aux send is not affected by the channel fader, but it is by 21/22 19 20 MUTE the mute Any channel ALT 3-4 MUTE switch). MUTE assignments to main mix, group 1-2, or group 3-4 will be interrupted and OL OL dB dB dB all will be silenced 10 of the aux sends 10 10 (both pre- and post-fader). The 5 5 5 -20 -20 [3] will continue to channel insert U U provide a signalU when a channel SOLO will 5 5 is5 muted.SOLO The OL LED [39] illuminate when a channel's mute 10 10 10 1-2 1-2 switch is engaged. U
3
SO
+15
U
+15
U
+15
U
FREQ
2k
3
+15
U
3
+15
U
SO
+15
U
PRE
+15
FX1
2
2
27
U
5
U
2
PRE
+15
+15
U
+15
PRE +15
U
SO
+15
U
1
+15
2
+15
1
U
PRE
+15
20
30
+5
OO
-20
3-4
+10
OO
10kHz 20kOL Hz
U
FX1
L
+5
–10
dB 10
U
-15
+15
L
U
100
LOW 80Hz
PAN 35.PAN High Mid EQ PAN Level (Stereo PAN Channels Only)
PAN
U
+15
2
-15
8k
U
PRE
+15
FREQ
AUX
With the knob panned hard left, the signal feeds the main left, 3 group 1, or3group 3 busses, depending on the setting of the assign switches [42]. With the knob 4 right, the signal 4 panned hard feeds the main right, group 2, or group 4 PRE PRE busses, again dependent on the PRE setting of the assign switches [42].
-15
2k 10kHz 20kHz
100
U
U
HI 12k
HI 12k
U
AUX U
+15
TO LR
AUX MASTER
This control allows you to adjust 1of the channel1 signal how muchPRE PRE is sent to the left versus the right outputs.
U
6
FX2
20Hz
U
SO
+20
USB
MAX
AUX
U
FX1
0
OFF
+15
U
+5
EQ
U
HI 12k
+15
PRE
U
AUX 5/6
HI 12k
+15
+10
+15
AUX 5/6
U
+15
10kHz 20kHz
4
+15
+15
PRE PRE The mono channels employ a semi-parametric mid-sweep 5 5 5 FX1EQ. The gainFX1 FX1 (up to 15 dB of boost or cut) is set via the mid eq [32], and then “aimed” at a 6 6 6 FX2 FX2 specific frequency, from FX2 100 Hz to FX 8 kHz, via freq FX [33].
+15
4
4
+15
PRE
EQ
–15
32. Mid EQ And 33. Freq (Mono Channels Only)
+15
U
+15
COMP
MAX
37. AUX Pan
AUX
U
COMP OFF
The high EQ provides up to 1 1 115 dB of boost1 or cut above 1 PRE PRE PRE PRE PRE 12 kHz, and it is also flat (no 0 boost or cut) at the detent. 2 2 2 2 2 sizzle to cymbals, PRE PRE PREUse it to add PRE PRE an overall sense of transparency, or an edge to 3 3 3 3 3 keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance or to mask tape hiss.
Q
O
PAD -20dB
OO
OO
Stereo channel
Owner’s Manual
19
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.
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.
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.
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.
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.
41. Solo
43. Channel Fader
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.
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 find that the overall level is too quiet or too loud with the level near unity, check that the gain control [23] is set correctly.
40. SIG LED
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] first, 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.
20
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.
VLZ4 4•Bus
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].
LINE GAIN U
23 24
SUCK 50%
46 -20
12V 0.5A
+20
48
0%
100%
TO LR U
AUX
PRE
2
PRE +15
3
52
+15
4 +15
54
53
SOLO
+15
SOLO
-15
U
U
55
SOLO
2
60
SOLO
HI MID 2.5k +15
47. Suck Knob
RUDE SOLO
SOLO MODE
U
U
U
2-Track, USB, Aux Masters and Meters SIG/OL
U
SIG/OL
+15
TO AUX 1
+15
FX MASTER
+15
+15
TO AUX 1
SOLO
U
U
This section includes the 2-track returns, USB, aux masters and stereo returns, TAP TAP and the meters. A 4x2 USB DELAY DELAY AUX 2 AUX 2 MONITOR recording and TOplayback function is at TOyour disposal. This means up to four signals may be recorded simultaneously and a stereo mix returned to the mixer MUTE MUTE for playback. +15
U
+15
U
+15
U
+15
TO LR
+15
TO LR
PHONES
SUBGROUPS TALKBACK The six auxes receive signals from the channels via the channel aux sends [27, 29]. Auxes 1-4 may also be fed from stereo returns 1-2 [54] and talkback [70, 71] OFF MAX OFF MAX OFF MAX OFF MAX COMP COMP COMP LEVEL andCOMP aux 1-2 may get internal effects processor output STEREO STEREO via the FX to AUX controls [62]. Any or all of these PUSH signals sautéed to aSOLO turn and TO sent TALK SOLO are mixed SOLO together, SOLO out the aux send jacks [13] after the optimum output levelLEFTis determined by the aux Aux AUX sends 1-4 LEFT masters [52]. LEFT LEFT from the channels are pre-fader (aux 1-2), selectable MAIN RIGHT RIGHT(aux 3-4), RIGHT (aux 5-6). pre-RIGHT or post-fader and post-fader MAIN MIX 1 post-EQ.2 3 4 All are U
+15
LOW 80Hz
+15
-15
+15
BAL
L
R
23/24
B 0
MUTE ALT 3-4
OL
-20
U
0
SOLO
1-2
0
dB Post-faderdB10aux sends may be fed todB10the inputsdB10of an 10 external processor like a reverb or digital delay. From 5 5 5 5 5 there, the outputs of this external processor are fed U U U [5]. Then U these back to the mixer’s stereoU return jacks signals are sent through the stereo return level 5controls 5 5 5 5 [54], and finally delivered to the main mix or to10auxes 10 10 10 10 1-4 to add effects to monitors if so desired by the talent 20 20 20 20 20 [“More me! More reverb!”]. dB 10
0
3-4
30
30
30
30
30
0 0 0
LR
40 50 60
40 50 60
40 50 60
40 50 60
40 50 60
OO
OO
OO
OO
OO
If the band performing asks you if you can make them sound better, reply with a resounding “yes, indeed I can make you sound better...I will turn down the Suck Knob [47] which will do wonders for your band!” As seen, it is broken down in percentages, from 0% suck (turned fully counter-clockwise) to 100% suck (turned fully clockwise). This way you get to determine the 'Suck Factor Percentage' (SFP) of the band.
PFL AFL
FX 2
+15
+15
20
+15
U
LOW MID 400Hz -15
U
+15
HI 12k
LEVEL SET
59
+15
SOLO
FX MASTER
U
U
+15
10
+15
U
LR
FX 1
FX AUX 5/6
-15
+15
U
1
+15
6
EQ
AUX 4
6
5
FX2
7 +15
U
30
U
FX1
This female BNC connector provides 12 volts DC with the center pin positive. Connect any quality gooseneck lamp here.
4
+15
U
SOLO
+15
U
46. Lamp
2
5
PRE
U
AUX 3
Pre-fader aux sends are typically used to provide another mix for stage monitors. If no external effects are being used, the stereo returns can be used as additional stereo inputs, or not used at all. Read on to learn more about these features...
7
+15
U
So, the original unprocessed “dry” signals go from the channels to the main mix, and the processed “wet” signals go from the stereo returns to the main mix, and once mixed together, the dry and wet signals combine to create a glorious sound!
4 2
+15
U
+15
U
58
+15
U
0
SOLO
4
+15
20
AUX 2
3 U
57
LEFT RIGHT 0 dB=0 dBu
U
+15
U
+15
U
56
SUBS 3-4 AUX 5-6
PWR
48V
10
2
+15
51
CH 3-4
STEREO RETURNS AUX 1
SOLO
+15
U
1
U
U
1
U
U
SUBS 1-2 MAIN
TAPE USB
SOLO
AUX MASTER
U
USB OUT
CH 1-2
49 50 +20
USB
75%
2-TRACK RETURN
U
FX 2
47
25%
If they follow instructions, buy you beers, and are a swell bunch, turn the knob counter-clockwise. If the drummer hits the snare drum or the guitarist does a screaming harmonic dive-bomb while you're setting up mics on their respective equipment (and thusly helping to ruin your hearing...huh?), feel free to crank the knob clockwise.
48. 2-Track Return Level This knob controls the overall level to the mains of the tape (RCA) or USB, depending on the position of the 2-track return tape/USB switch [50]. This knob's level ranges from off, through unity (center detent position), on up to 20 dB of extra gain (fully clockwise).
49. 2-Track Return Solo This switch sends the 2-track return (tape or USB, depending on the position of the switch[50]) to the solo bus.
50. 2-Track Return Tape/USB This determines if the 2-track return gets its signal from the RCA “tape” inputs (switch disengaged) or USB (switch engaged).
Owner’s Manual
21
NE GAIN U
23 24
50%
46
20
47
25%
12V 0.5A
+20
75%
0%
100%
2-TRACK RETURN
U
FX 2
48 TO LR U
X
U
1
U
PRE
2
PRE +15
3
52
+15
AUX 3
54
53
SOLO
PRE
7 +15
U
AUX 4 +15
U
LEVEL SET
59
+15
1 +15
+15
SOLO
SOLO
FX 1 U
6
RUDE SOLO
2
60
SOLO
SOLO MODE
U
U
SIG/OL
U
SIG/OL
+15
FX AUX 5/6
+15
15
U
U
U
HI MID 2.5k +15
U
U
These two switches allow for monstrous flexibility on the four recordable signals. The default switch TAP TAP DELAY DELAY configurationTO(disengaged) routes subgroups 1-4 over AUX 2 TO AUX 2 MONITOR the USB connection to your favorite DAW software for a “mix it later” 4-track recording. Engaging the switch MUTE MUTE on the left allows the main L-R mix to be recorded for TO LR mixes of the show.TO LR other PHONES convenient stereo The switch SUBGROUPS TALKBACK allows aux 5/6 to be sent to the DAW for a unique stereo recording or the use of DAW plug-ins as effects. +15
U
+15
U
+15
OFF +15
L
L
+15
SOLO
U
+15
+15
U
+15
LOW 80Hz
15
+15
TO AUX 1
+15
+15
LOW MID 400Hz
15
+15
FX MASTER
U
HI 12k
15
+15
FX MASTER 51. USB OutTO AUX 1
U
MAX COMP
OFF
STEREO
MAX COMP
OFF
MAX COMP
OFF
STEREO
52. Master Aux Sends 1-6 SOLO SOLO SOLO
MAX COMP
+15
LEVEL
PUSH TO TALK
SOLO
These knobs provide overall control over the aux send AUX 1-4 LEFT LEFT levels, just before they areLEFT delivered toLEFTthe aux send outputs [13]. These knobs go from off to +15 db when MAIN RIGHT RIGHT turned all theRIGHT way up. RIGHT
R
3/24 MUTE ALT 3-4
1
OL
-20
SOLO
1-2
22 LR
3
4
MAIN MIX
5
5
5
5
30
30
30
30
30
40 50 60
40 50 60
VLZ4 4•Bus
40 50 60
40 50 60
40 50 60
OO
OO
OO
OO
OO
10 20
3-4
2
This is usually the knob you turn up when the lead dB dB dB dB dB at his stage monitor, 10 singer glares 10 at you, points 10 10 10 and sticks his thumb up in the air. (It would follow that if 5 5 5 5 5 the singer stuck his thumb down, you’d turn the knob U U U U U down, but that never happens.) 5
55. Stereo Returns Solo This button allows you to solo a stereo return. The rude solo LED [59] will flash to let you know that the solo system is active. Since this is an input, this signal is affected by the PFL/AFL master switch.
PFL AFL
FX 2 U
FX2
Signals passing through these controls go directly to the main mix and aux 1-4 buses where they are combined with signals from the channels.
+15
55
6
5
20
+15
U
LR
SOLO
U
FX1
10
30 SOLO
+15
U
These ten controls set the overall level of line signals received from the stereo return 1-2 inputs [5]. These controls range from off to +15 db of gain when fully clockwise, to compensate for low-level effects.
4
+15
U
The aux send solo is AFL and is not affected by the solo mode switch (PFL/AFL) [60], except that in PFL mode only the left meter indicates the signal.
54. Stereo Returns 1-2 to Aux 1-4/Main
2
5
+15
U
+15
U
This button allows you to solo an individual aux send. If you are using the aux sends to feed your stage monitors, you may use these buttons to check your monitor mix. The rude solo LED [59] will flash to let you know the solo system is active.
7 4 2
+15
U
+15
U
4
58
+15
U
0
SOLO
4
+15
20
AUX 2
3 U
57
LEFT RIGHT 0 dB=0 dBu
U
+15
U
+15
U
56
SUBS 3-4 AUX 5-6
PWR
48V
10
2
+15
51
CH 3-4
STEREO RETURNS AUX 1
SOLO
+15
U
1
U
SUBS 1-2 MAIN
TAPE USB
SOLO
AUX MASTER
U
USB OUT
CH 1-2
49 50 +20
USB
U
53. Master Aux Sends Solo
SUCK
Keep in mind that aux sends 3-4 may either be 10 10 10 10 pre- or post-fader, depending on the position 20 the channel's 20 20 of aux pre/post switch20[28].
56. 48V LED 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 for all mic inputs (except the talkback mic) may be selected by pressing up on the mixer's phantom [21] switch. Never plug single-ended (unbalanced) microphones, 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.
57. Power LED This green LED will illuminate when the mixer is turned on, as a reminder of how on it really is. If it is not on, then it is off, and the mixer becomes a rather nice weight for keeping your morning newspaper from blowing away in the wind. If it does not turn on, make sure the power cord is correctly inserted at both ends, the local AC mains supply is active, and the power switch [20] is on.
58. Left/Right Level Meters
60. Solo Mode
These peak meters are made up of two columns of twelve LEDs, with three colors to indicate different ranges of signal level, traffic light style. They range from –30 at the bottom, to 0 in the middle, to +20 (CLIP) at the top.
Engaging a channel's solo switch [41] will cause this dramatic turn of events: Any existing source selection is immediately replaced by the solo signal, appearing at the monitor outputs [15, 16], phones [17] and at the left meter [58] (left and right meters when in AFL solo mode). The audible solo levels are then controlled by the solo knob [67]. The discrete level controls for headphones and monitor outputs are dependent on what is plugged in.
When a channel is soloed in PFL, the right meter shows no reading, and the left meter shows the level of that channel’s signal level, pre-fader. In AFL, both left and right meters illuminate to indicate the 'After Fader Level' of the signal and stereo imaging. AFL is always used for outputs, regardless of the position of the PFL/AFL master switch, as you always want to view the output level after the fader. The left meter's 0 dB LED is labeled “level set” to show where the level should be when adjusting a channel’s gain [23] in the solo mode (as described in “Set the Levels” on page 6). When 0 dBu (0.775 V) is at the main left and right TRS outputs [7], it shows as 0 dB on the meters. You can get a good mix with peaks flashing anywhere between –20 and +10 dB on the meters. Most amplifiers clip at about +10 dBu, and some recorders aren’t so forgiving either. For best real-world results, try to keep your peaks between “0” and “+7.” Remember, audio meters are just tools to help assure you that your levels are “in the ballpark.” You don’t have to stare at them (unless you want to).
59. Rude Solo Light This large red LED flashes when one or more solo switches are engaged [41, 49, 53, 55, 73]. This acts as a reminder that what you hear in the control room and headphones is the soloed channel(s), 2-track return, stereo return, aux(es), and/or group(s). If you forget that you are in solo mode, you can easily be tricked into thinking that something is wrong with your mixer. Hence, the rude solo light. Please forgive its rudeness, it is only trying to help, and wants to be your friend.
With the solo mode switch in the up position, you are in PFL mode, meaning Pre-Fader Listen. This mode is required for the “Set the Levels” procedure and is handy for quick spot-checks of channels, especially ones that have their faders turned down. PFL mode is only available to input signals. While in PFL mode, if an output is soloed, its signal will show up, but it will be an AFL signal. With the solo mode switch down, you are in AFL mode, meaning After-Fader Listen. You will be able to hear the stereo output of the soloed channel – it will follow the channel's fader [43] and balance [37] settings. It is similar to muting all of the other channels, but without the hassle. AFL mode is the only soloing mode for subgroups and aux masters. Subgroups 1-2 or 3-4 may be soloed simultaneously for a true stereo image. AFL is a new feature available to channel inputs and provides a mixdown solution that allows soloing the mix as it is on the faders. In PFL mode, solo will not be affected by a channel's mute switch [38] position. Remember, PFL mode taps the channel signal before the fader. If you have a channel's fader set way below “U” (unity gain), solo will not know that and will send a unity gain signal to the monitor outputs [15, 16], phones output [17], and meter display [58]. That may result in a startling level boost at these outputs when switching from AFL to PFL mode, depending on the position of the solo level knob [67].
Owner’s Manual
23
U
5
FX1 U
+15
+15
Q
SOLO
63
-15
U
+15
U
66
U
+15
TO AUX 2
MUTE
+15
TO AUX 1
SOLO
U
U
68
TAP DELAY
+15
+15
TO AUX 2
MONITOR
U
U
U
69
MUTE +15
+15
TO LR
+15
TO LR
SUBGROUPS
PHONES
TALKBACK U
+15
72
LOW 80Hz OFF -15
FX MASTER
62
TAP DELAY
LOW MID 400Hz -15
+15
U
HI MID 2.5k +15
U
67
+15
TO AUX 1
64 65
U
SIG/OL
FX MASTER
+15
PFL AFL
U
SIG/OL
61
HI 12k -15
SOLO
U
+15
U
SOLO
SOLO MODE
FX 2
U
FX2 FX AUX 5/6
2
FX 1
6
+15
1 6
+15
MAX COMP
OFF
STEREO
MAX COMP
70 OFF
MAX COMP
OFF
STEREO
MAX COMP
+15
LEVEL
AL
L
R
23/24
B
MUTE ALT 3-4
0 0 0
SOLO
LEFT
LEFT
RIGHT
RIGHT
1
73
2
SOLO
SOLO
LEFT
LEFT
RIGHT
RIGHT
3
4
PUSH TO TALK
71
MAIN
dB 10
dB 10
dB 10
dB 10
dB 10
-20
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
3-4
30
30
30
30
30
LR
40 50 60
40 50 60
40 50 60
40 50 60
40 50 60
OO
OO
OO
OO
OO
SOLO
1-2
74
AUX 1-4
61. FX1 and FX2 Send Master These knobs control the level of the signals going into each internal effects processor. Adjust them carefully, keeping an eye on the adjacent sig/ol LED [63] to prevent overloading the effects processor.
62. FX1 and FX2 to Aux 1/Aux 2/Main
75
Stereo Effects Processors, Headphones, Talkback, Main and Groups Mix* There are two identical Running-Man 32-bit internal effects processors. They are mono-in, stereo-out effects processors, with 24 presets each. Signals to these effects processors come from adjusting the FX1 and/or FX2 aux send [29] on each channel and the FX masters [61]. The stereo output from each processor may be added to the main mix using the 'FX to main' knob [62]. The stereo output from each processor may also be added to aux 1 and/or aux 2 by adjusting the 'FX to aux' control [62].
24
The talkback feature allows the engineer to communicate with the talent either through the phones output [17] or the aux 1-4 send outputs [13] using an external talkback microphone. This saves a lot of shouting over the audience's heads as you set up the talented one's stage monitors to their peculiarly-picky satisfaction.
MAIN MIX
OL
0
0
SOLO
Or the FX returns may be routed to the stereo input channels[23/24 on the 2404 VLZ4, 31/32 on the 3204 VLZ4], using the the FX1 and/or FX2 switches [44]. This allows for way more flexibility. For example, you can EQ the FX and send them to any aux, group, or main. Just remember to turn the 'to aux 1', 'to aux 2' and 'to main' knobs [62] fully counter-clockwise to avoid double-bussing.
These knobs route the effects output to aux 1, aux 2 and mains independently. Use aux 1 and aux 2 to provide effects to monitors. Slowly add effects to the monitors by turning the 'to aux 1' and 'to aux 2' knobs clockwise. Use the aux master to monitor the amount sent. The FX output to the mains will be heard directly from the PA.
63. SIG/OL LED These dual-LEDs illuminate green when the signal level going into each effects processor is within a good operating range (sig). They illuminate red if the effects processor is overloaded with too strong of a signal (ol). Turn down the send master levels [61] and check the channel sends if these light red regularly. The signals going into the processors are affected by the channels' aux 5/6 sends [29], the channel gain [23], EQ [31-36], and channel faders [43], as well as the FX Send Master [61].
64. Preset Display These displays show the number of the currently selected effects preset, as shown in the list of presets silkscreened above. Rotate the preset selector knob right or left to change a preset. A new preset will be loaded approximately 1/4 of a second after you stop turning the knob, and it will be stored into the FX memory after about one second. When the VLZ4 4•Bus mixer is turned on, the FX section will load up the last-used preset.
VLZ4 4•Bus * Affectionately referred to as “the meat 'n potatoes”.
U
5
FX1 U
+15
+15
Q
63
-15
U
61
U
+15
66
U
62
TAP DELAY
+15
TO AUX 2
+15
MUTE
+15
TO AUX 1
SOLO
U
U
68
TAP DELAY
+15
+15
TO AUX 2
MONITOR
U
U
U
69
MUTE +15
+15
TO LR
+15
TO LR
SUBGROUPS
PHONES
TALKBACK U
+15
72
LOW 80Hz OFF -15
+15
U
LOW MID 400Hz -15
U
67
FX MASTER
TO AUX 1
HI MID 2.5k +15
U
SIG/OL
64 65
PFL AFL
U
SIG/OL
+15
+15
SOLO
SOLO MODE
FX 2
HI 12k -15
SOLO
U
FX MASTER
U
2
FX 1
6
+15
SOLO
U
FX2 FX AUX 5/6
1 6
+15
MAX COMP
OFF
STEREO
MAX COMP
70 OFF
MAX COMP
OFF
STEREO
MAX COMP
+15
LEVEL
AL
L
R
23/24 MUTE ALT 3-4
SOLO
SOLO
LEFT
LEFT
RIGHT
RIGHT
1
73
2
SOLO
SOLO
LEFT
LEFT
RIGHT
RIGHT
3
4
PUSH TO TALK
71
dB 10
dB 10
dB 10
dB 10
-20
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
3-4
30
30
30
30
30
LR
40 50 60
40 50 60
40 50 60
40 50 60
40 50 60
OO
OO
OO
OO
OO
74
13
Chorus
2
Vocal Plate
14
Chorus + Reverb
3
Warm Room
15
Doubler
4
Bright Room
16
Tape Slap
5
Warm Lounge
17
Delay 1 Brt 350ms
6
Small Stage
18
Delay 1 Wrm 300ms
7
Warm Theater
19
Delay 2 Brt 250ms
8
Bright Stage
20
Delay 2 Wrm 200ms
9
Warm Hall
21
Delay 3 Brt 175ms
10
Concert Hall
22
Delay 3 Wrm 150ms
11
Cathedral
23
Chorus + Dly 300ms
12
Gated Reverb
24
Reverb + Dly 200ms
The knob also offers a tap delay function for presets 17-24. This works as follows: 1. Use the knob to select a preset from 17 to 24.
AUX 1-4
MAIN
dB 10
1-2
Plate Reverb
2. Press the knob in at least two times.
The DSP processor will calculate the time delay between the last two pushes, and it will assign this time interval to the echoes of the current digital delay.
The minimum tap delay is 50 ms and the maximum is 500 ms.
MAIN MIX
OL
SOLO
1
75
• If your taps are faster than 50 ms, they will be set to 50 ms. • If taps are 500 ms to 1 second, they will be set to 500 ms. • If taps are greater than 1 second apart, they will be ignored. Try again a bit faster. 3. The LED will flash in time with the new tap delay time.
66. Internal FX Mute When engaged, the internal effects processor is muted, and its output will not appear on the main mix, monitor mix...or anywhere for that matter. The adjacent mute LED will come on as a reminder that the effects are muted. When power is first applied, these LEDs will illuminate and the FX will be muted for about 10 seconds while the little FX gerbils inside settle down.
65. Preset Selector, Tap Delay and LED Rotate these endless controls to select one of the 24 preset effects. When the rotation stops, that preset will be loaded and become operational. The current preset number is shown in the display [64]. The different presets are shown in the table to the right and on the silkscreen in the upper right hand corner of each VLZ4 4•Bus mixer. Further details of each preset are explained in Appendix E on page 37.
If this switch is not engaged, then the internal effects are set free and may be added as required to the main mix, monitor mix and last two stereo channels.
67. Solo Level This knob is used to adjust the volume of the soloed signal as it is routed to the monitor [15, 16] and phones [17] outputs. This control is independent of, and prior to, the monitor [68] and phones [69] level controls.
Owner’s Manual
25
68. Monitor Level This knob is used to adjust the volume at the monitor output [15, 16], from off to maximum gain (max).
69. Phones Level This knob is used to adjust the volume at the phones output [17], from off to maximum gain (max). If solo is not active, the monitor, phones and meter are fed the post-fader main mix signal. 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 this control all the way down before connecting headphones, or pressing a solo switch [41, 49, 53, 55, 73], or doing anything new that may affect the headphone volume. Then turn it up slowly as you listen carefully.
70. Talkback Level Use this knob to control the level of the talkback signal being routed to the main mix or aux 1-4 outputs, from the internal microphone. 1. Start with this control turned down. 2. Select the destination, either main mix and/or aux 1-4 [71], and make sure that their levels are already set nicely, using the main mix fader [75] or aux masters [52]. 3. Slowly turn this control up until you get confirmation from whoever is listening that they can hear and obey your every command. Once you have set the level, you can leave it there for the duration of the session or gig.
71. Push To Talk: Main, Aux 1-4 Push in the main switch to route the talkback signal to the main outputs. Use this to communicate with the talent in the studio through the headphones during a recording session. The aux 1-4 switch routes the talkback signal to the aux send 1-4 outputs [13]. Use this to communicate with the musicians through their stage monitors when you are setting up a live performance. It is fine to have both destination switches pushed in at the same time, so the talkback signal will be routed to both destinations. But if you don’t have either of the destination switches engaged, the talkback signal won’t go anywhere. You might as well be talking to a brick wall.
26
VLZ4 4•Bus
NOTE: The talkback destination switches are latching switches, not momentary. In other words, there is no need to hold down the switch(es) when using the talkback feature. Simply engage the switch(es) and begin talking. But don't forget to disengage the switch when you're done talking to them, or they may hear your unflattering remarks regarding their choice of apparel. NOTE #2: The talkback will not work unless you have a microphone attached to the talkback mic input [19].
72. Compressor Each of the four groups 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. See page 17 for an entire page (and a graph even!) dedicated entirely to explaining compression.
73. Groups Assign One popular use of the groups is to use them as master faders for a group of channels on their way to the main mix [75]. Let us say you have a drum kit hogging up seven channels and you are going to want to control their group volume more conveniently. You do not want to try that with seven hands or seven fingers, so just un-assign these channels from the main mix and reassign them to groups 1-2, engage the assign to main mix left on group 1 and assign to main mix right on group 2. Now you may ride the entire drum mix with two faders – groups 1 and 2. If you engage just one assign to main mix button per group (left or right), the signal sent to the main mix [75] will be the same level as the group outs [11]. If you want the subgroup to appear in the center of the main mix, engage both the assign to main mix left and right buttons. The signal will be sent to both sides, and reduced in level by 3 dB like a pan pot, so the overall level is the same, whether the group is assigned to main left, main right, or both. Each group may also be soloed. This does not mean that each member of a group gets their shot at a solo and stardom. Rather, this allows you to listen to the group in isolation via monitor outputs or headphones. Being an output, these signals are AFL. Groups 1-2 and 3-4 are paired together for purposes of solo and work together differently in pfl and afl modes. In pfl mode, since pfl is a mono bus, soloing Group 1 by itself, Group 2 by itself or both together will result in the same level solo signal, monaurally (assuming Groups 1 and 2 have the same levels of signal).
Afl is a stereo solo bus, so in afl mode, soloing Group 1 by itself places the signal on the left, Group 2 shows up on the right, and soloing both yields a stereo image, with Group 1 on the left and Group 2 on the right, and each reduced by 3 dB, not unlike using one of the channels' balance pots to center the signal. Groups 3 and 4 function similarly. Solo signals reaching the headphones and monitor outputs are not affected by the channel level or main level; therefore, turn down the phones level [69] and monitor level [68] first, 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 is just the soloed group(s).
74. Group 1-4 Faders As you might expect, these faders control the levels of the signals sent to the group outs [11]. All channels that are assigned to groups, not muted, and not turned fully down will appear at the group outs. The group signal is off when its fader is fully down, the “U” marking is unity gain, and fully up provides 10 dB additional gain. Remember that if you are treating two groups as a stereo pair, group 1 and 2 for example, make sure that both group faders “ride” together to maintain the left/right balance.
75. Main Mix This stereo fader allows you to adjust the levels of the main mix signals sent to the XLR and 1/4" main line-level outputs [7], and the tape outputs [6]. This gives you the ultimate feeling of power and control over the sound levels sent to your audience. Adjust this control carefully, with your good eye on the meters to check against overloading, and your good ear to the levels to make sure your audience (if any) is happy. The main mix signals are off with the fader fully down, the “U” marking is unity gain, and fully up provides 10 dB of additional gain. This additional gain will typically never be needed, but once again, it’s nice to know that it’s there. The fader is stereo, as it affects both the left and right of the main mix equally. This is the ideal control to slowly bring down at the end of a song (or quickly in the middle of a song if the need ever arises). This control does not affect the aux outputs [13]. This does, however, conclude the main portion of the owner's manual. From here on out it's all appendices. You should pour yourself a cold, frosty one and pat yourself on the back for making it here! Ok, congratulations are now over. Time to plug in your VLZ4 4•Bus mixer, power it on, and start twiddlin' some knobs!
Owner’s Manual
27
Appendix A: Service Information If you think your mixer has a problem, please check out the following troubleshooting tips and do your best to confirm the problem. Visit the Support section of our website (www.720trees.com) where you will find lots of useful information such as FAQs, documentation and any updated PC drivers, etc. You may find the answer to the problem without having to send your mixer away.
Troubleshooting Bad Channel • Is the channel EQ set up nicely? • Is the channel gain set correctly? • Is the channel level up enough? • Is the channel OL led on?
Repair
For warranty service, refer to the warranty information on page 39. Non-warranty service is available at a factoryauthorized service center. To locate the nearest service center, visit www.720trees.com, click “Contact Tech Support” and select “Locate a Service Center or Distributor” [3]. Service for VLZ4 mixers living outside the United States may be obtained through local dealers or distributors. If you do not have access to our website, you can call our Tech Support department at 1-800-898-3211, Monday-Friday during normal business hours, Pacific Time, to explain the problem. Tech Support will tell you where the nearest factory-authorized service center is located in your area.
• Is the channel balance set in the middle? • Try the same source signal in another channel, set up exactly like the suspect channel. • Is phantom power required for your microphone?
Bad Output • Is the main level turned up? • Are the EQs set to reasonable levels? • Are any aux returns maxed out? • Unplug anything from the other line-level outputs, such as monitor out, just in case one of your external pieces has a problem. • Make sure that you are not overdriving your amplifiers. Check the loudspeaker average load impedance is not less than the minimum your amplifier can handle. Check the speaker wiring.
Appendix B: Connections Balanced XLR Input Connector The 802VLZ4 mixer has three female XLR inputs. Be sure the cables are wired per AES (Audio Engineering Society) standards:
Noise • Turn the channel gains down, one by one. If the sound disappears, it’s either that channel or whatever is plugged into it, so unplug whatever that is. If the noise disappears, it’s from your whatever.
Power
Balanced XLR Input Connector
Pin 1 – Shield (Ground) Pin 2 – Positive (+ or hot) Pin 3 – Negative (– or cold) HOT
COLD 1
• The power LED should come on if the mixer is connected to a suitable live AC mains outlet, and the power switch is on. Check to make sure that the power cord is securely plugged in.
28
VLZ4 4•Bus
2
SHIELD
3
1 SHIELD COLD
2
Balanced XLR Input Connector
3
HOT
Balanced XLR Output Connector
The male XLR connectors provide a balanced linelevel signal that represents the end of the mixer, where the fully mixed stereo signal enters the real world. Connect these to the left and right line-level inputs of powered speakers or to the left and right line-level inputs of an amplifier (with speakers already attached). Be sure the cables are wired per AES (Audio Engineering Society) standards:
• Unbalanced send/return circuits. When wired as a send/return “Y” connector, a 1⁄4" TRS jack or plug is connected tip to signal send (output from mixer), ring to signal return (input back into mixer), and sleeve to ground (earth).
Balanced XLR Output Connector
Unbalanced 1/4" TS Connector
Pin 1 – Shield (Ground) Pin 2 – Positive (+ or hot) Pin 3 – Negative (– or cold) SHIELD
COLD 3 HOT
You can cook up your own adapter for a stereo microphone. “Y” two cables out of a female 1⁄4" TRS jack to two male XLR plugs, one for the right signal and one for the left.
TS stands for Tip-Sleeve, the two connections available on a mono 1⁄4" cable. This allows for a direct conection to the channel input jacks. Be sure the cables are wired per AES (Audio Engineering Society) standards:
1
2
Unbalanced 1/4" TS Connector
SHIELD
1 3
COLD 2
HOT
Balanced XLR Output Connector
Sleeve – Shield (Ground) Tip – Positive (+ or hot) SLEEVE
Balanced 1/4" TRS Connector
SLEEVE
TIP
TIP TIP
TRS stands for Tip-Ring-Sleeve, the three connections available on a stereo 1/4" cable. This allows for a direct connection to the channel input jacks. Be sure the cables are wired per AES (Audio Engineering Society) standards: Balanced 1/4" TRS Connector
Sleeve – Shield (Ground) Tip – Positive (+ or hot) Ring – Negative (– or cold)
SLEEVE
Unbalanced 1/4" TS Connector
TS jacks and plugs are used in many different applications, always unbalanced. The tip is connected to the audio signal and the sleeve to ground (earth). Some examples: • Unbalanced microphones • Electric guitars and electronic instruments • Unbalanced line-level connections
RING SLEEVE
SLEEVE RING TIP
Unbalanced RCA Connector
TIP RING TIP SLEEVE
Balanced 1/4" TRS Connector
TRS jacks and plugs are used in several different applications: • Balanced mono circuits. When wired as a balanced connector, a 1⁄4" TRS jack or plug is connected tip to signal high (hot), ring to signal low (cold), and sleeve to ground (earth). • Stereo Headphones, and rarely, stereo microphones and stereo line connections. When wired for stereo, a 1⁄4" TRS jack or plug is connected tip to left, ring to right and sleeve to ground (earth). VLZ4 mixers do not directly accept 1-plug-type stereo microphones. They must be separated into a left cord and a right cord, which are plugged into the two mic preamps.
RCA-type plugs (also known as phono plugs) and jacks are often used in home stereo and video equipment and in many other applications. RCA plugs are unbalanced. Connect the signal to the center post and the ground (earth) or shield to the surrounding “basket.” Be sure the cables are wired per AES (Audio Engineering Society) standards: Unbalanced RCA Connector
Sleeve – Shield (Ground) Tip – Positive (+ or hot) SLEEVE
TIP
SLEEVE
TIP
Unbalanced RCA Connector
Owner’s Manual
29
TRS Send/Receive Insert Jacks
Using the Send Only on an Insert Jack
Single-jack inserts are three-conductor, TRS-type 1⁄4" phone. They are unbalanced, but have both the mixer output (send) and the mixer input (return) signals in one connector. See the illsutration below.
If you insert a TS (mono) 1⁄4" plug only partially (to the first click) into a VLZ4 insert jack, the plug will not activate the jack switch and will not open the insert loop in the circuit (thereby allowing the channel signal to continue on its merry way through the mixer).
The sleeve is the common ground (earth) for both signals. The send from the mixer to the external unit is carried on the tip, and the return from the unit to the mixer is on the ring. tip
ring
SEND to processor
sleeve
(TRS plug)
This plug connects to one of the mixer’s Channel Insert jacks.
RETURN from processor
Unbalanced 1/4" Insert Connectors
tip
ring
This allows you to tap out the channel or bus signal without interrupting normal operation. If you push the 1⁄4" TS plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel. See the illustration below. NOTE: Do not overload or short-circuit the signal you are tapping from the mixer. That will affect the internal signal.
MONO PLUG Channel Insert jack
Direct out with no signal interruption to master. Insert only to first click.
MONO PLUG Channel Insert jack
Direct out with signal interruption to master. Insert all the way in to the second click.
STEREO PLUG Channel Insert jack
For use as an effects loop. (Tip = Send TO effect, Ring = Return FROM effect).
Using the Send Only on an Insert Jack
30
VLZ4 4•Bus
Appendix C: Technical Information Specifications
Noise Characteristics:
4-Band Equalization (stereo channels)
(Mic in to Insert Send out, max gain.)
Low:
±15 dB @ 80 Hz
Low-Mid:
±15 dB @ 400 Hz
High-Mid:
±15 dB @ 2.5 kHz
High:
±15 dB @ 12 kHz
150
termination:
–128.5 dBu
(20 Hz–20 kHz bandwidth, 1/4" Main out, channel gains @ unity gain, channel EQs flat, all channels assigned to Main Mix, odd channels panned left, even channels panned right.) Main Mix fader unity, channel faders down: 2404: –87.0 dBu (–91.0 dB Signal to Noise Ratio, ref +4 dBu) 3204: –84.5 dBu (–88.5 dB Signal to Noise Ratio, ref +4 dBu)
USB
Main Mix fader unity, channel faders @ unity: 2404: –81.5 dBu 3204: –80.0 dBu
I/O: Stereo Input, 4 Channel Output
Format: USB 1.1
A/D/A:
Frequency Response: Mic Input to Main Output (Gain @Unity) +0, –1 dB, 20 Hz to 50 kHz +0, –3 dB, <10 Hz to >100 kHz
Distortion (THD+N): (1 kHz 15 dB gain, 20 Hz–20 kHz bandwidth) Mic in to insert send:
<0.001%
Mic in to Main Out:
<0.005%
Attenuation and Crosstalk: (1 kHz relative to +10 dBu, 20 Hz–20 kHz bandwidth, Mic in, 1⁄4" Main Out, Gain @ unity.)
24 bit, 44.1 kHz / 48 kHz
Input and Output Impedance: Mic in:
2.7 kΩ
Channel Insert return:
2.5 kΩ
All other inputs:
10 kΩ or greater
Tape out:
<10 Ω
All other outputs:
120 Ω
AC Power Requirements: Power Consumption: 55 watts (2404VLZ4) 65 watts (3204VLZ4) Universal AC Power Supply: 100 VAC – 240 VAC, 50-60 Hz
Channel Mute switch engaged:
–90 dBu
Physical Dimensions and Weight
Channel Fader down:
–88 dBu
Front Height: Rear Height:
1.8 in / 46.3 mm (both) 6.0 in / 153 mm (both)
Common Mode Rejection Ratio (CMRR):
Depth:
19.1 in / 486 mm (both)
(Mic in to Insert Send out, max gain.)
Width:
29.4 in / 748 mm (2404VLZ4) 38.0 in / 964 mm (3204VLZ4)
Weight:
31 lb. / 14.1 kg (2404VLZ4) 39 lb. / 17.7 kg (3204VLZ4)
1 kHz:
better than –70 dB
Maximum Input and Output Levels: Mic in: +21 dBu All other inputs:
+21 dBu
Main Mix XLR out:
+27 dBu
All other outputs:
+21 dBu
3-Band Equalization (mono channels) Low:
±15 dB @ 80 Hz
Mid: ±15 dB sweep 100 Hz–8 kHz High:
±15 dB @ 12 kHz
Low Cut Filter:
18 dB/octave, –3 dB @ 100 Hz
Since we are always striving to make our products better by incorporating new and improved materials, components, and manufacturing methods, we reserve the right to change these specifications at any time without notice. The “Running Man” figure is a registered trademarks of LOUD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged. Please check our website for any updates to this manual: www.720trees.com.
©2013 LOUD Technologies Inc. All Rights Reserved.
Owner’s Manual
31
Pan
-
80
HPF
1/2
100Hz Mic: 0 ~ +60dB Line: -15 ~ +45dB
Line
Phantom Power Gain
Mute
3-Band EQ w/ Swept Mid
Level 3/4
bypass HPF In
+
Mic
FX2 Aux 6 FX1 Aux 5
Comp
-
post pre
HPF
Mono Channels 17-20 (2404) 25-28 (3204)
Line
Aux 3 Aux 2
Mic: 0 ~ +60dB Line: -15 ~ +45dB
Aux 1 Solo
(Second stereo channel only)
+
Line FX 1
R
Aux 4
100Hz
OL (flicker) mute (on)
-20 Sig (flicker) solo (on)
L
Assign L/R
12K
100~8K
Aux 4 (pre/post)
Mic Mono Channels 1-16 (2404) 1-24 (3204)
HI
MID
+
Aux 4
LO
-20dB pad
OL (flicker) mute (on)
2
-20 Sig (flicker) solo (on)
bypass HPF In
R 1
M ain Gain
L
Phantom Power
Sub 3 4 Aux 1 (pre)
Insert Phantom Power (To All Mics)
Aux 2 (pre) Aux 3 (pre/post)
Global 48v 48V Switch/LED
Aux 2 Aux 3
Block Diagram
+
Gain
4-Band EQ LO
MID
MID
HI
80
400
2.5K
12K
LO
MID
MID
HI
80
400
2.5K
12K
Level
Pan
L/R
USB
-20 ~ +20dB
Assign
1/2 3/4 Mute
Int FX 1 Out L Int FX 1 Out R (FX2 on 2 nd st ch.) post pre
Stereo Channels 21/22 & 23/24 (2404) 29/30 & 31/32 (3204)
FX1 Aux 6 FX2 Aux 5 Aux 4 Aux 3 Aux 2 Aux 1
Solo
Tape Input
L
Tape USB
R
2 track Input Level
USB In Stereo Return 1 & 2
Solo
+
L
-
To Main Mix
+
R
-
Solo
Hudson River
To Aux 1 To Aux 2
Central Park
To Aux 3 To Aux 4
Talkback Level
32
VLZ4 4•Bus
Aux 1
3 4
Sub
R 1 2
L-R
Main
Talkback Assign
L
Aux1-4
PFL Solo
Mono level
AFL solo L AFL solo R
FX 1 FX 2
Aux 6 (post)
Aux 4 (pre/post)
Aux 5 (post)
Aux 2 (pre) Aux 3 (pre/post)
Sub 3 4 Aux 1 (pre)
2
M ain R 1
L
Mono Insert
Mono Out L sum
L Insert
R sum
R Insert
L
Main Out Main level
R L
Tape Out R
to USB 1-2
Sub 1 Sub 2
Sub 3 Sub 4
AFL Solo L
Sub 1-2 Main L-R
to USB 3-4
USB Out
Aux 5 Aux 6 Sub 3-4 Aux 5-6
RUDE SOLO LED
Meter Select
Mono Monitor Level
R
Monitor Out L
PFL Solo
4
Solo Level
Solo
3 2
Solo Logic
1
R
Phones Level
Solo mode AFL PFL
Sub Assign To Main Mix L R Solo (1&3) Solo (2&4)
Phones
Sub 1 level
Sub 1 sum
Sub 1 Out
Insert
Comp
Aux 1 sum
(Sub 2-4 identical) Aux 1 Level
Insert
Aux 1 Out
Solo
(Aux 2-6 identical) Sig/OL
FX 1 master level
Aux1 Aux2
In
Preset select
Out L
L
FX 1
Main
Tap
Out R
R
AFL solo R
AFL solo L
FX1 FX 2 PFL solo
Aux 5 Aux 6
Aux 4
Aux 3
Aux 2
Aux 1
3 4
Sub
R 1 2
Main
L
(To first stereo channel)
Internal FX 1 (Internal FX 2 identical except returns to second stereo channel)
Active FX Mute
FX Preset Display
FX 1 Bypass Logic
Owner’s Manual
33
5
Track Sheet - Mono Channels 6
GAIN
7
GAIN
U 40
U -20dB
60 +40dB
40
U -20dB
60 +40dB
40
U -20dB
60 +40dB
40
U -20dB
60 +40dB
40
U -20dB
60 +40dB
40
U -20dB
60 +40dB
40
U -20dB
60 +40dB
40
U -20dB
60 +40dB
40
U -20dB
30
U
20
60 +40dB
GAIN
30
U
20
16
GAIN
30
U
20
15
GAIN
30
U
20
14
GAIN
30
U
20
13
GAIN
30
U
20
12
GAIN
30
U
20
11
GAIN
30
U
20
10
GAIN
30
U
20
9
GAIN
30
U
20
8
GAIN
30
30
40
U -20dB
U
20
60 +40dB
40
U -20dB
20
60 +40dB
LOW CUT 100 Hz
LOW CUT 100 Hz
LOW CUT 100 Hz
LOW CUT 100 Hz
LOW CUT 100 Hz
LOW CUT 100 Hz
LOW CUT 100 Hz
LOW CUT 100 Hz
LOW CUT 100 Hz
LOW CUT 100 Hz
LOW CUT 100 Hz
PAD -20dB
PAD -20dB
PAD -20dB
PAD -20dB
PAD -20dB
PAD -20dB
PAD -20dB
PAD -20dB
PAD -20dB
PAD -20dB
PAD -20dB
U -20dB
+40d
LOW CUT 100 Hz
OFF
AUX
AUX U
AUX U
U
1
U
U
2
2
PRE U
U
U
U
U
5
5
U
U
6
FX AUX 5/6
EQ
EQ
U
HI 12k -15
U
+15
-15
U
800
-15
-15
800
2k 100
U
-15
200
2k 100
U
LOW 80Hz -15
L
200
-15
2k 100
-15
R
L
6
-15
U
-15
R
-15
2k 100
-15
U
-15
R
L
800
-15
800
2k 100
+15
-15
U
-15
200
2k 100
-15
R
L
-15
U
-15
R
L
+15
-15
-15
2k 100
U
800
200
8k
-15
2k 100
-15
R
L
U
-15
R
L
-15
-15
2k 100
U
U
800
-15
-15
R
L
-15
2k 100
800
-15
+15
U
+15
200
8k
-15
R
L
U
100
8k
+15
-15
-15
+15
R
L
R
L
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
5
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
5 10
SOLO
1-2
20 30 40 50 60
5 10
SOLO
1-2
20
3-4
30
LR
40 50 60
OO
OO
34
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
VLZ4 4•Bus
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
1-2
20
3-4
30
LR
40 50 60 OO
U
U
SOLO
8k
5 10
SOLO
5 10
1-2 20
20
3-4
30
3-4
30
LR
40 50 60
LR
40 50 60
OO
+15
R
MUTE
MUTE
dB 10
U
U
17
16
MUTE
OL
U
+15
PAN
PAN
dB 10
U
800
LOW 80Hz
15
MUTE
+15
200
2k 100
PAN
U
FREQ
LOW 80Hz
14
MUTE
-15
+15
MID
+15
200
PAN
U
FREQ
8k
U
HI 12k
+15
LOW 80Hz
+15
EQ
U
MID
+15
200
13
MUTE
EQ
FREQ
8k
PAN
12
MUTE
800
LOW 80Hz
+15
PAN
+15
FREQ
+15
FX AUX 5/6
HI 12k
MID
+15
LOW 80Hz
+15
U
6
FX AUX 5/6
U
+15
FX2 +15
HI 12k
MID
+15
200
11
MUTE
U
FREQ
8k
PAN
10
MUTE
+15
LOW 80Hz
+15
PAN
800
EQ
U
U
6
FX AUX 5/6
HI 12k
MID
+15
LOW 80Hz
+15
U
FREQ
8k
EQ
U
+15
FX2 +15
FX AUX 5/6
HI 12k
MID
+15
200
9
MUTE
U
FREQ
8k
PAN
8
MUTE
+15
LOW 80Hz
+15
L
U
EQ
U
5
FX1 U
FX2 +15
FX AUX 5/6
HI 12k
MID
+15
200
PAN
7
MUTE
+15
LOW 80Hz
+15
PAN
800
EQ
U
HI 12k
FREQ
8k
LOW 80Hz
+15
U
FREQ
8k
EQ
U
MID
+15
800
FREQ
8k
PAN
-15
MID
+15
FREQ
EQ
U
FX AUX 5/6
5
+15
6
FX2 +15
U
FX1 U
6
FX2 +15
FX AUX 5/6
HI 12k
+15
U
MID
+15
200
EQ
U
6
FX2 +15
FX AUX 5/6
HI 12k
+15
MID
-15
FX AUX 5/6
HI 12k
6
FX2 +15
U
+15
U
5
+15
PRE
PRE
FX1 +15
+15
4
U
5
+15
U
+15
PRE
FX1 U
U
+15
4
U
5
+15
U
3
+15
+15
PRE
FX1 U
6
FX2 +15
FX AUX 5/6
5
+15
2
U
4
U
FX1 U
6
FX2 +15
FX AUX 5/6
5
+15
U
+15
PRE +15
3
+15
+15
PRE
U
FX1 U
6
FX2 +15
U
U
6
FX2 +15
5
U
4 +15
PRE
U
FX1 +15
U
4 +15
PRE
U
5
U
4 +15
PRE
FX1 +15
U
U
2
+15
3
+15
+15
PRE
+15
3
+15
U
2
U
PRE
+15
PRE
+15
3
+15
4
U
FX1 +15
U
+15
PRE
U
3
+15
4
U
FX1 +15
U
+15
PRE
U
U
PRE
+15
1
PRE
+15
2
PRE
+15
3
+15
4 +15
PRE
U
EQ
U
4
U
U
2
PRE
+15
3
+15
+15
PRE
U
U
2
PRE
+15
3
+15
4 +15
U
U
U
2
PRE
+15
U
U
2
PRE
+15
3
+15
U
2
PRE
+15
3 U
U
1
PRE
+15
U
U
1
PRE
+15
MA
AUX
AUX U
1
PRE
+15
AUX U
1
PRE
+15
AUX U
1
PRE
+15
AUX U
1
PRE
+15
AUX U
1
PRE
+15
AUX U
1
PRE
+15
AUX U
1
PRE U
AUX
OO
Track Sheet - Comp & Stereo Channels and Master Section 16
AIN
17
GAIN
U
U -20dB
60 +40dB
40
U -20dB
60 +40dB
U -20dB
LOW CUT 100 Hz
U -20dB
20
LINE GAIN U
23 24
SUCK 50%
60 +40dB
25%
40
U -20dB
LOW CUT 100 Hz
COMP OFF
60 +40dB
-20
OFF
+20
-20
12V 0.5A
+20
U
PRE
+15
U
U
2
2
+15
U
U
U
3 U
U
3
+15
U
2
U
U
+15
3
+15
U
U
3
+15
U
3
+15
U
4
4 +15
+15
U
U
U
U
U
-15
+15
U
800
-15
-15
800
-15
100
U
800
2k
-15
-15
100
8k
U
8k
100
U
+15
-15
U
800
-15
2k 100
U
-15
U
800
+15
-15
U
200 100
U
-15
LOW 80Hz
U
-15
+15
-15
-15
+15
-15
PAN
AN
L
+15
R
L
R
L
+15
-15
PAN
R
L
18
MUTE
MUTE
-15
PAN
17
16
+15
PAN
R
L
19
MUTE
-15
-15
L
MUTE
-15
R
U
PFL AFL
U
U
U
SIG/OL
+15
+15
+15
FX MASTER
TO AUX 1
U
TAP DELAY
+15
+15
TO AUX 2
HI MID 2.5k
+15
TO AUX 1
SOLO
U
U
+15
U
TAP DELAY
+15
MUTE
+15
TO AUX 2
MONITOR
U
U
U
MUTE +15
+15
TO LR
+15
TO LR
SUBGROUPS
PHONES
TALKBACK U
+15
+15
L
R
23/24
MUTE ALT 3-4
MUTE
SOLO
MAX COMP
OFF
STEREO
MAX COMP
OFF
MAX COMP
OFF
STEREO
MAX COMP
+15
LEVEL
BAL
21/22
20
SOLO
LOW 80Hz
+15
BAL
R
2
U
LOW 80Hz
+15
1
SOLO MODE
FX 2
LOW MID 400Hz
+15
LOW 80Hz
+15
U
+15
OFF -15
RUDE SOLO +15
SOLO
FX MASTER
LOW MID 400Hz
8k
+15
U
LR
SOLO
U
HI MID 2.5k
2k
20
HI 12k
+15
FREQ
8k
LOW 80Hz
U
MID
+15
200
EQ HI 12k
+15
+15
U
SIG/OL
FX AUX 5/6
HI 12k
FREQ
8k
LOW 80Hz
LOW 80Hz
U
FREQ 2k
U
MID
+15
200
EQ
10
LEVEL SET
+15
FX AUX 5/6
HI 12k
+15
FREQ 200
U
MID
+15
FREQ 2k
U
MID
+15
EQ
HI 12k
+15
MID
-15
U
HI 12k
HI 12k -15
EQ
SOLO
FX 1 FX2
+15
FX AUX 5/6
+15
U
AUX 4
30
U
6
FX2
+15
FX AUX 5/6
+15
+15
6
FX2
+15
FX AUX 5/6
EQ
6
FX2
FX1 U
2 4
6
5
+15
+15
U
7
U
FX1 U
4 2
+15
U
+15
U
5
+15
6
+15
FX AUX 5/6
EQ
U
FX2
+15
+15
U
FX1
+15
6
FX2
FX AUX 5/6
U
U
PRE
5
FX1
+15
6
FX2
U
7
+15
U
5
+15
PRE
5
FX1
+15
6
Q
U
4
+15
PRE
5
FX1
FX1 +15
4
+15
PRE
5
5
4
+15
PRE
U
U
4
+15
PRE
PRE
U
4
20
AUX 3
SOLO
+15
U
LEFT RIGHT 0 dB=0 dBu
U
+15
U
4
+15
MUTE ALT 3-4
SOLO
SOLO
SOLO
SOLO
PUSH TO TALK
LEFT
LEFT
LEFT
LEFT
AUX 1-4
RIGHT
RIGHT
RIGHT
RIGHT
1
2
3
4
MAIN
MAIN MIX
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
OL
dB 10
dB 10
dB 10
dB 10
dB 10
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
-20
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
U
SOLO
5 10
1-2
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
5 10
U
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
PWR
48V
0
SOLO
+15
U
SUBS 3-4 AUX 5-6
AUX 2
3
+15
SUBS 1-2 MAIN
+15
U
+15
U
2
PRE
CH 3-4
10
2
+15
PRE
+15
3
+15
U
2
PRE
+15
PRE
+15
CH 1-2
STEREO RETURNS AUX 1
SOLO
+15
U
1
PRE U
PRE
+15
1
+15
2
PRE
+15
3 +15
U
U
1
U
PRE
+15
2
PRE
PRE
PRE
+15
AUX U
1
USB OUT
TAPE USB
SOLO
TO LR U
AUX
1
100%
AUX MASTER
U
1
0%
2-TRACK RETURN
+20
USB
MAX
AUX U
PRE
PRE
OFF
75%
FX 2
COMP
MAX
AUX
1
+15
OFF
U
1
FX 1
COMP
MAX
AUX U
U
LOW CUT 100 Hz
COMP
MAX
AUX
UX
U
40
LOW CUT 100 Hz
PAD -20dB
U
21 22
U
20
60 +40dB
U
U
LOW CUT 100 Hz
U
40
LINE GAIN
30
U
20
20
GAIN
30
U
20
19
GAIN
30
U 40
18
GAIN
30
30
5 10
SOLO
1-2
20
3-4
30
LR
40 50 60 OO
20
20
20
20
20
3-4
30
30
30
30
30
LR
40 50 60
40 50 60
40 50 60
40 50 60
40 50 60
OO
OO
OO
OO
OO
Owner’s Manual
35
6.0 in / 153 mm
Dimensions
WEIGHT 31.0 lb 14.1 kg
U
+6
19.1 in / 486 mm
6.0 in 153 mm
29.4 in / 748 mm 1.8 in 46 mm
6.0 in / 153 mm
WEIGHT 39.0 lb 17.7 kg
19.1 in / 486 mm
6.0 in 153 mm
38.0 in / 964 mm 1.8 in 46 mm
36
VLZ4 4•Bus
Appendix D: USB The built-in USB interface allows for some powerful and flexible 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, first 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. 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 “flip” switch, so a “Tape” source (connected via RCA cables, such as an iPod®) or the USB signal from a computer (playing Windows Media Player® files, 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 submix 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 finally, 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 flexible 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 confirm that the latest device drivers are currently in use.
Owner’s Manual
37
Appendix E: Table of Effects Presets No. Title
Description
Example of its use
01 Plate Reverb
This preset emulates vintage mechanical reverberation that was generated with a metal plate. Its sound is characterized by lots of early reflections and no pre-delay.
Perfect for thickening percussive instruments, such as a snare drum, or tight vocal arrangements.
02 Vocal Plate
This vintage plate emulation is warmer than your standard plate, with a long reverberant tail, lots of fast reflections and a very short pre-delay.
Particularly suited for vocal signals, but can also be used for extra-thick drum tracks.
03 Warm Room
This preset is characterized by lots of fast early reflections Useful for adding a tight and controlled with a short pre-delay to simulate the sound of a small, ambient effect to vocals and acoustic instruments. wood paneled room.
04 Bright Room
This room has a bright tone with lots of scattered reflections to simulate harder, more reflective surfaces.
05
Warm Lounge
Useful on vocals that require a brighter reverb to cut through the mix, or for giving acoustic instruments a livelier vibe.
This preset features a medium sized room sound, with Useful for vocals on songs that require a larger, just enough enhancement of the lower mids to produce a more “wet” sound, or for giving dimension to warm tone. bright horns without adding harshness.
06 Small Stage
This preset simulates the sound of a small concert stage, with a medium reverb time and reverberant space.
Useful for vocals or guitars in fast paced, highenergy songs that call for a “live” sounding reverberation.
07 Warm Theater
This reverb has a warm bodied tone and medium long reverb time to simulate the live acoustics of a theater space.
Perfect for vocals, drums, acoustic and electric guitars, keyboards, and more.
08 Bright Stage
This preset emulates the sound of a large performance stage, characterized by medium long reverb time and pre-delay, plus a touch of sizzle.
Great for adding life and dimension to drums and other acoustic instruments, and for that big live vocal sound.
09 Warm Hall
This reverb simulates the sound of a spacious, yet cozy, heavily draped and carpeted concert hall with an especially warm tone.
Perfect for adding natural concert hall ambience to close-mic’ed orchestral instruments.
10 Concert Hall
This hall reverb is characterized by its large, spacious sound, long pre-delay, and vibrant tone.
Adds life to acoustic instruments and vocals from solos to full-on symphonies and choirs.
11 Cathedral
This reverb emulates the extremely long tails, dense dif- Gives amazing depth to choirs, wind instruments, fusion and long pre-delays and reflections that would be organs, and soft acoustic guitars. found in a very large, stone walled house of worship.
12 Gated Reverb
This preset incorporates an age-old trick whereby an extremely dense reverb is processed through a fast gate for an interesting, albeit artificial, sound.
13 Chorus
This preset provides a soft, ethereal sweeping effect that Perfect for enhancement of electric and acoustic is useful for thickening and for making a particular sound guitar and bass, or to add a dramatic effect to pop out of the mix. vocals, particularly group harmonies and choirs.
14 Chorus + Reverb
This preset perfectly combines the chorus effect above with a large, roomy reverb.
This lets you both thicken your sound with the chorus effect while adding warmth and spaciousness thanks to the smooth reverb.
15 Doubler
This effect simulates the sound of a vocal or instrument being recorded twice (double tracked) on a multi-track recorder.
Provides a vibe that is similar to chorus without the subtle swirl.
16 Tape Slap
This effect provides a single, relatively rapid delay of the Often used on vocals for a 1950’s era feel, or on original signal, with the added warmth that vintage tape- guitars for a surf-type tone. Often used by people based echo units provided. whose favorite number is 16.
17 18 19 20 21 22
DLY 1 Bright (350ms) DLY 1 Warm (300ms) DLY 2 Bright (250ms) DLY 2 Warm (200ms) DLY 3 Bright (175ms) DLY 3 Warm (150ms)
Most often used to fatten snare drums and toms without clutter.
These 6 delay presets provide one (delay 1), three (delay 2), or six (delay 3) repeats of the original signal. The default delay time for each preset is shown in mS - the smaller the time, the faster the delay. Delay times can easily be customized to suit the moment by tapping the knob [63] more than once.
These work best with full, up-beat music like rock where the delay needs to cut through the mix. Warm delays get progressively softer and warmer in tone with each repetition and work great with slow, mellow music. Bright delays have repeats that are consistent in tone with the original sound.
23 Chorus + DLY (300ms)
This effect combines the thickening effect of the chorus with the echoes of the 3-repeat delay effect. Delay times can easily be customized to suit the moment by using the Tap feature.
Useful on a clean electric guitar that needs a mildly swirling, ethereal tone.
24 Reverb + DLY (200ms)
This effect combines the Warm Theater reverb effect with Perfect for thickening vocals while adding dimenthe echoes of the 3-repeat delay effect. sions, it can also be used as a spacey effect on Delay times can easily be customized to suit the moment electric guitars. by using the Tap feature.
For presets 17 to 24, the delay can be entered by tapping the preset selector knobs [65] more than once.
38
VLZ4 4•Bus
VLZ4 4•Bus Limited Warranty Please keep your sales receipt in a safe place. This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”) and is applicable to products purchased in the United States or Canada through a LOUD-authorized reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of the product (hereinafter, “Customer,” “you” or “your”). For products purchased outside the U.S. or Canada, please visit www.720trees.com to find contact information for your local distributor, and information on any warranty coverage provided by the distributor in your local market. LOUD warrants to Customer that the product will be free from defects in materials and workmanship under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD or its authorized service representative will at its option, either repair or replace any such nonconforming product, provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at: www.720trees.com or by calling LOUD technical support at 1.800.898.3211 (toll-free in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it to obtain any warranty service. For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit www.720trees.com. The Product Warranty, together with your invoice or receipt, and the terms and conditions located at www.720trees.com constitutes the entire agreement, and supersedes any and all prior agreements between LOUD and Customer related to the subject matter hereof. No amendment, modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written instrument signed by the party to be bound thereby.
Owner’s Manual
39
16220 Wood-Red Road NE Woodinville, WA 98072 • USA Phone: 425.487.4333 Toll-free: 800.898.3211 Fax: 425.487.4337 www.720trees.com
