1. Home
  2. Mackie
  3. Mackie 3204-VLZ4 User Manual

Mackie 3204-VLZ4 3204VLZ4 32-Channel 4-Bus FX Mixer with USB

Product's Documents

Below are documents related to this product, you can read online or download:
Main documentSpecificationQuestions and answersRelateds Products
3204-VLZ4 photo

User Manual

This is the main product document for model 3204-VLZ4.

The file format is pdf, 40 pages, you can download this manual here .

background
VLZ4 4•Bus
OWNER’S MANUAL
24-/32-Channel 4-Bus FX Mixer with USB
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
31/32 29/30
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
202122232425262728
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
21
21
22
22
23
23
24
24
25
25
26
26
27
27
28
28
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR
CANADA. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY
NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE
RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.
+6
U
background
2
VLZ4 4•Bus
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10.
Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11.
Only use attachments/accessories specified by the manufacturer.
12.
Use only with a cart, stand, tripod, bracket, or
table specified by the manufacturer, or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
13.
Unplug this apparatus during lightning storms or
when unused for long periods of time.
14.
Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as power-
supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15.
This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
16.
Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
17.
This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing
connection (the third grounding prong).
18.
This apparatus has been equipped with a rocker-style AC mains power
switch. This switch is located on the rear panel and should remain
readily accessible to the user.
19.
The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
PORTABLE CART
WARNING
20. NOTE: This equipment has been tested and found to comply
with the limits for a Class B digital device, pursuant to part 15
of the FCC Rules. These limits are designed to provide reasonable
protection against harmful interference in a residential installation.
This equipment generates, uses, and can radiate radio frequency
energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio communications.
However, there is no guarantee that interference will not occur
in a particular installation. If this equipment does cause harmful
interference to radio or television reception, which can be determined
by turning the equipment off and on, the user is encouraged to try to
correct the interference by one or more of the following measures:
• Reorientorrelocatethereceivingantenna.
• Increasetheseparationbetweentheequipmentandthe
receiver.
• Connecttheequipmentintoanoutletonacircuitdifferentfrom
that to which the receiver is connected.
• Consultthedealeroranexperiencedradio/TVtechnicianfor
help.
CAUTION: Changes or modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user's authority to
operate the equipment under FCC rules.
21.
This apparatus does not exceed the Class A/Class B (whichever is
applicable)
limits for radio noise emissions from digital apparatus as
set out in the radio interference regulations of the Canadian Department
of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils
numériques de class A/de class B (selon le cas) prescrites dans le
réglement sur le brouillage radioélectrique édicté par les ministere des
communications du Canada.
22.
Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially
dangerous exposure to high sound pressure levels, it is recommended
that all persons exposed to equipment capable of producing high
sound pressure levels use hearing protectors while the equipment
is in operation. Ear plugs or protectors in the ear canals or over the
ears must be worn when operating the equipment in order to prevent
permanent hearing loss if exposure is in excess of the limits set forth
here:
Important Safety Instructions
CAUTION AVIS
RISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PA S CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the
user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil.
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Duration,
per day in
hours
Sound Level
dBA, Slow
Response
Typical Example
8 90 Duo in small club
6 92
4 95 Subway Train
3 97
2 100 Veryloudclassicalmusic
1.5 102
1 105
Matt screaming at Troy about
deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperatio
n in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
background
3
Owner’s Manual
Part No. SW0974 Rev. B 06/13
©2013 LOUD Technologies Inc. All Rights Reserved.
Based off of the highly recommended book, 246 Ways to
Clean a Cat Box.
Contents
Important Safety Instructions .................................. 2
Contents ................................................................. 3
Features ................................................................. 4
Introduction ............................................................ 5
Getting Started ....................................................... 6
Hookup Diagrams .................................................... 7
VLZ4 4•Bus Features .............................................. 9
Rear Panel - Connections ...................................... 9
1. Mic Ins .................................................... 9
2. Line Ins .................................................... 9
3. Insert .................................................... 10
4. Stereo Line Ins ....................................... 10
5. Stereo Returns 1-2 ................................. 10
6. Tape Ins / Outs ...................................... 10
7. L/R Main Outs: XLR & 1/4" ................... 11
8. Main Inserts .......................................... 11
9. Mono Out .............................................. 11
10. Mono Out Level Control .......................... 11
11. Group Outs 1-4 ...................................... 11
12. Group Inserts ......................................... 11
13. Aux Sends 1-6 ....................................... 11
14. Aux Inserts ........................................... 12
15. Left/Right Monitor Outs ........................ 12
16. Mono Monitor Out .................................. 12
17. Headphone Out ...................................... 12
18. USB In/Out............................................ 12
19. Talkback Mic .......................................... 14
20. Power ................................................... 14
21. 48V Phantom Power .............................. 14
22. Power Connection ................................... 14
Front Panel - Knob Twiddlin' Section .................... 15
23. Gain Control ........................................... 16
24. Low Cut ................................................. 16
25. Pad (-20 dB) Switch ............................... 16
26. Compressor ............................................ 17
27. Aux Sends 1-6 ....................................... 18
28. Pre-Fader / Aux Sends 1-2..................... 18
29. Int Fx 1-2 / Aux Sends 5-6 .................... 18
30. Int Fx / Aux 5-6 Switch ......................... 18
31. High EQ ................................................. 19
32. Mid EQ .................................................. 19
33. Mid EQ Frequency ................................... 19
34. Low EQ .................................................. 19
35. High Mid EQ Level .................................. 19
36. Low Mid EQ Level ................................... 19
37. Pan ....................................................... 19
38. Mute ..................................................... 19
39. OL LED ................................................... 19
40. Sig LED .................................................. 20
41. Solo ....................................................... 20
42. Assign ................................................... 20
43. Channel Fader ........................................ 20
44. FX1 And FX2.......................................... 20
45. USB Switch ............................................ 20
2-Track, USB, Aux Masters And Meters ............... 21
46. Lamp ..................................................... 21
47. Suck Knob .............................................. 21
48. 2-Track Return Level ............................... 21
49. 2-Track Return Solo ................................ 21
50. 2-Track Return Tape/USB ....................... 21
51. USB Out................................................. 22
52. Master Aux Sends 1-6 ............................ 22
53. Master Aux Sends Solo ........................... 22
54. Stereo Returns 1-2 To Aux 1-4/Main ...... 22
55. Stereo Returns Solo ................................ 22
56. 48V Led ................................................. 22
57. Power Led ............................................. 22
58. Left/Right Level Meters ......................... 23
59. Rude Solo Light ...................................... 23
60. Solo Mode ............................................. 23
Stereo Effects Processors, Headphones, Talkback, ...
Main And Groups Mix ........................................... 24
61. FX1 And FX2 Send Master ...................... 24
62. FX1 And FX2 To Aux 1/Aux 2/Main ....... 24
63. Sig/OL LED ............................................ 24
64. Preset Display ........................................ 24
65. Preset Selector, Tap Delay And LED .......... 25
66. Internal FX Mute .................................... 25
67. Solo Level .............................................. 25
68. Monitor Level ......................................... 26
69. Phones Level .......................................... 26
70. Talkback Level ........................................ 26
71. Push To Talk: Main, Aux 1-4 ................... 26
72. Compressor ............................................ 26
73. Groups Assign ........................................ 26
74. Group 1-4 Faders ................................... 27
75. Main Mix ............................................... 27
Appendix A: Service Information ............................ 28
Appendix B: Connections ........................................ 28
Appendix C: Technical Information .......................... 31
Appendix D: USB ................................................... 37
Appendix E: Table of Effects Presets ....................... 38
Limited Warranty .................................................. 39
Like us
Follow us
Watch our dang videos
background
4
VLZ4 4•Bus
Features
• 4•busmixerfeaturingoursignature
high-headroom, low-noise design
• Boutique-qualityOnyxmicpreamps
•Ultra-wide60dBgainrange
•128.5dBdynamicrange
•+22dBulineinputhandling
•Extendedfrequencyresponse
•Distortionunder0.0007%(20Hz-50kHz)
• ImprovedRFrejection,perfectforbroadcast
applications
• Phantompowerforcondensermics
• Dedicatedinlinechannelcompression
forcriticalinputs
• High-headroomlineinputswithdedicated
inserts
• 3-bandEQwithsweepablemidrange
• 18dB/oct100Hzlow-cutlteronmicinput
channels
• Level,pan,soloandoverload/muteLEDs
on each channel
• Foursubgroupsfeaturingdedicatedinline
compressorsfortotaldynamiccontrol
• Sixauxsendswithinserts,pre/postfader
andinternal/externalFXsendoptions
• Twostereoreturnsandfourgroupouts
with inserts
• Dual32-bitRMFX+
™
processorsfeaturing
24“GigReady”reverbs,chorusesandtapdelay
forliveapplications
• Integrated4x224-bitUSBinterface
•StreamsubgroupsormasterL/Rtoyour
PCorMacforrecording
•Useyourfavoriteplug-inliveviaauxes5/6
•Convenientstereoreturntomainsformusic
playbackorreturntochanneltoimplement
EQ,auxesandmore
• PFL/AFLsolomodes
• 60mmlong-wearinglog-taperfaders
• High-resolution12-segmentstereometers
• Sealedrotarycontrolresistdustandgrime
• “Built-Like-A-Tank”ruggedsteelchassiswith
powder-coatnish
• High-visibility,high-contrastcontrolsdeliver
convenient“at-a-glance”visualfeedback
• Universalpowersupplyforworldwideuse
How To Use This Manual
Aftertheintroduction,agettingstartedguidewill
helpyougetthingssetupfast.Thesearefollowedby
hookupdiagramswhichshowsometypicalsetups.
Nextisadetailedtouroftheentiremixer.
Thedescriptionsaredividedintosections,just
asyourmixerisorganizedintodistinctzones:
• RearPanel/Connections
• ChannelControls
• 2-Track,USB,AuxMasters,Meters
• StereoEffectsProcessors,Headphones,
Talkback,MainandGroupsMix
Throughoutthesesectionsyou’llndillustrations
witheachfeaturenumberedanddescribedinnearby
paragraphs.
This icon marks infor mation that is critically
importantoruniquetothemixer.Foryourown
good, read them and remember them.
Thisiconwillleadyoutosomeexplanations
offeaturesandpracticaltips.Theyusually
havesomevaluablenuggetsofinformation.
background
5
Owner’s Manual
Introduction
Awesomely unheard of features
USB Recording and Playback
TheVLZ44•BusSeriesMixersfeaturea4x2USB
recordingandplaybackfunction.Thismeansuptofour
signalsmayberecordedsimultaneouslyandastereo
mixreturnedtothemixerforplayback.
There are two switches in the master section labeled
“USB OUT”thatallowformonstrousexibilityonthe
fourrecordablesignals.Thedefaultswitch
congurationroutessubgroups1-4overtheUSB
connectiontoyourfavoriteDAWsoftwarefora“mixit
later”4-trackrecording.TheSubgroup1-2switchalso
allowstheL-Rmixtoberecordedforconvenientstereo
mixesoftheshow.TheSubgroup3-4switchallowsaux
5/6tobesenttotheDAWforauniquestereorecording
ortheuseofDAWplug-insaseffects.
Forplayback,therearetwoswitchesinthemaster
section labeled “2-TRACKRETURN”.Oneswitch[TAPE/
USB]changesthestandarddualRCAinputstomain
(tape,switchdisengaged)tostereoUSBtomain(USB,
switchengaged).Thisisanextremelyconvenient
functionforplayingmusicoverthemainmixfroma
computer.
AnothercoolfeatureoftheVLZ44•Busisrouting
thestereoUSBreturntothelaststereochannelofthe
mixer.Thisisamightynetoolforanumberofliveand
recordinguses.Forexample,playbackthroughthe
stereo channel allows the “GregMdesigned” 4-band
EQtobeutilizedtosweetenthesounds.Itmayalsobe
usedforoverdubbingbysendingmusictothemusicians'
headphonesthroughtheauxes.
Last,butnotleast,itmaybeusedtoreturnplug-in
effectsfromtheDAWinalivemixscenario.Oneofour
favoritesistheCamelPhatVSTthatmakesyour
averagedrummersoundlikeBonhamonHow The West
Was Won.
Need help with your mixer?
• Visit www.720trees.com and click Support to find: FAQs, manuals and other useful information.
• Email us at: [email protected].
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps
(Monday through Friday, normal business hours, Pacific Time).
Powerful on-board dual FX engines and eight
individual compressors
Inpursuitoftheultimate“do-it-all”LiveSound
Mixer,wethrewinthekitchensinkandpackedthisbad
boywithafullsetofprocessorsallowingyoutotravel
“rackfree”whilestillmakingprofessionalsounding
mixes.
Forstarters,weaddednotone,butTWO,ofour
patentedRunningManFXprocessors(RMFX+
™
)
featuring24“gig-ready”effectsrightintotheboard.This
doesnotincludeuselesseffectssuchas“thewarbler”or
the“insanitydelay”,butratherasuiteofquickly
accessibleanduseablereverbs,chorusesanddelays
thatmakecoloringyourmixabreeze.
Additionally,bothFXprocessorsfeatureatapdelay,
typicallyonlyavailableonanoutboardrack.Delaysmay
easilybesync'dwiththesongatthetapofanger.And
becauseweloveexiblerouting(hehe),theprocessed
signal may be sent direct to the mains and monitors
fromtheeffectssectionorre-routedtothetwostereo
channelstobringthemthroughtheEQandauxsection,
utilizingthe60mmfadertodrawthemintothemix.
Butwait,there'smore!TheVLZ44•Bushaseight
(yes,eight!)singleknobcompressorstostopthe
dynamicsignalsfrompokingoutofthemix.Four
compressorsarelocatedonthelastfourmicinputs
sothatthemostcriticalsignals(suchasvocals,snare
drum,theoccasionaljawharpormountaingoats)may
beaddressed.Plus,therearesingleknobcompressors
oneachofthefoursubgroupssothatgroupedsignals
(suchasadrumsetorachoirofdidgeridoos)maybe
blendedtogetherforparamountsmoothness.
Bottomline?Youhaveanawesomemixerwith
VLZ4soundquality,“built-like-a-tank”buildquality
andarecordingandprocessingfeaturesetthatis
unparalleled.Congratulations...andhappymixing!
background
6
VLZ4 4•Bus
Set the levels
It’snotevennecessarytohearwhatyou’redoingto
setoptimallevels.Butifyou’dliketo:Plugheadphones
intothephonesoutputjack,thenturnupthephones
knobjustalittle.
1. Turnonthemixerbypressingthetopedgeof
thepowerswitch.
2. Foronechannel,pressthesoloswitchin,and
therudesololightwillturnon.
3. Playsomethingintothatinputatreal-world
levels.
4. Adjustthatchannel'sgaincontroluntilthe
rightmainmeterstaysaroundthe0dBLED
(marked“levelset”).
5. Disengagethechannel'ssoloswitch.
6. Repeatsteps2to5fortheremainingchannels.
7. Turnupthechannelfadertothe“U”mark.
8. Slowlyturnupthemainmixfaderuntilyou
hearthesignalsinyourheadphones.
9. Ifneeded,applysomechannelEQwisely.
10.Adjustthechannellevelstogetthebestmix.
Keepthegaincontrolsandlevelsfullydownon
unusedchannels.
11.Duringtheperformance,ifyounoticeachannel
OLLEDturningonduringpeaks,carefullyturn
downthatchannel'sgaincontroluntilOLdoes
notturnon.
Things to Remember
• Neverlistentoloudmusicforprolonged
periods.PleaseseetheSafetyInstructionson
page2forinformationonhearingprotection.
• Alwaysturndownthephoneslevelwhen
makingconnections,pressingsolo,ordoing
anythingthatmaycauseloudnessinthe
headphones.Thiswillhelpprotectyour
hearing.
• Alwaysturndownthemainmixleveland
monitor level when making connections
tothemixer.Betteryet,turnoffthepower.
• Whenshuttingdown,turnoffanypower
ampliersorpoweredspeakersrst.When
poweringup,turnthemonlast.Thiswill
reducethechanceofturn-onorturn-off
thumps.
• Savetheshippingbox!
Getting Started
Werealizethatyoumustbereallykeentotryoutthe
mixer.Pleasereadthesafetyinstructionsonpage2,
thenhavealookthroughsomeofthefeaturesand
detailsinthismanual.
Setup
Usethemixerinanicecleananddryenvironment,
freefromdryerlintanddustbunnies.
Zero the controls
1. Fullyturndownalltheknobstominimum,
exceptforthechannelEQandpancontrols,
whichshouldbecentered.
2. Makesureallbuttonsareintheoutposition.
Connections
1. MakesuretheACpowerswitchisoffbefore
making any connections.
2. PushthelinecordsecurelyintotheIEC
connectorontherearpanel,andplugitintoa
3-prongACoutlet.Themixercanaccept
any
AC voltage ranging from 100 VAC to 240 VAC.
3. Plugabalancedmicrophoneintooneofthemic
XLR(3-pin)connectors.Orconnectany
line-levelsignal(keyboard,orguitarpreamp)
toalineinputjackusingaTSoraTRS
1/4"plug.
4. Ifyourmicrophonerequiresphantompower,
turnonthe48Vphantompowerbutton.
5. Allmonochannelshaveinsertjacksthatcanbe
usedtoconnectanexternaleffectsordynamics
processorintothesignalchain.
6. Connectthemainoutputsofthemixer(either
XLRorTRS1/4")tothelinelevelinputsofyour
amplier(withspeakersalreadyattached)or
tothelinelevelinputsofpoweredspeakers.
background
7
Owner’s Manual
Hookup Diagrams
Typical Live Sound System
The drummer is the mic and channel hog of the band; Dustin has the kick, snare and three toms mic'd
up, in addition to two overhead mics. These run to mic inputs 1-7. desTROYer is rockin' the electric guitar
through an Ampeg GVT52-212 guitar amp. The amp is mic'd and connected to the channel 8 mic input.
Keyboard player Chris is connected to the channel 10 and 11 line inputs...well, Chris isn't connected to
the inputs; his keyboard is! Vocalist Anthony is singing through a mic connected to the mic 19 input. A
bass guitar is connected to an Ampeg rig which is connected (via DI) to the mic 20 input. The last four
mono channels of each 24 and 32-channel VLZ4 4•Bus mixer have built-in compressors, so feel free to
"squeeze" the vocals and bass to heart's desire since they lie here. Last, but not least, a DJ is spinning
records connected (via a d.2 Pro DJ mixer) to the line inputs on stereo channels 21/22. The sound guy
(or gal) may monitor levels using headphones (via the headphones output) and/or a pair of MR8mk3's
connected to the monitor L/R outputs.
Four SRM450v2 powered speakers are used as stage monitors for the band; they are connected to the
aux 1-4 send jacks. An SRM150 powered speaker receives a mono input from the aux 5 send, and is
used as a monitor for Chris (the keyboard player). Graphic EQs are connected to aux inserts 1-4 to help
prevent feedback.
The club is driven by connecting a pair of DLM12S powered subwoofers and a pair of DLM12
powered speakers to the main left and right outputs.
A laptop connects to the mixer via the USB port, allowing the 2-channel main mix to be recorded.
Any music (iTunes
®
, mp3s, or other pre-recorded audio) may be played back from the laptop, as well.
These can enter as either a source for the monitor and phones, or any available channels.
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
power
input
reverb mastergain treble middle
bass
volume channel
1
1
2
gain treble middle bass volume
2
off
on
standby
TDSK
half
full
1
2
3
4
hi
lo
ultra hi / lo
5
master standby
standby/
power/
fault
powertreblefrequencymidrangebassgain
-15dB0dB
ks
pb
no
jd
pa
jh
LINE
MIC
R R
PGM 2
MAIN OUT MIC
L LLLL R
PHONO CD
SEND
R
BOOTH
FX
GND
LINE
PHONO
RETURN
L(MONO)
RR
L
R
LIVE
RECORD
PGM 1
LINE
PHONO
GND
PHONO CD
R R
LL
DLM12
Powered
Speaker
DLM12
Powered
Speaker
DLM12S
Powered
Subwoofer
DLM12S
Powered
Subwoofer
Laptop
Computer
with audio
production
software
Headphones
Turntables with phono-level output
d.2 Pro DJ mixer
MR8mk3
Powered Reference
Monitors L/R
SRM450v2 Powered Speakers
for Stage Monitors (Aux Sends 1-4)
Chris
on keys
Francis
on bass
DI
Box
Dustin
on drums
desTROYer
on six-string
Anthony on
lead vox
Monitor EQ
(Aux Inserts 1-4)
SRM150
Powered Monitor
for keyboard player
(Aux Send 5)
background
8
VLZ4 4•Bus
Typical Recording System
Once the band has played a few shows and feel that the songs are up to par, then it's time to record
them for posterity and all three adoring fans. The good thing is that the VLZ4 4•Bus mixer functions great
in both environments... live and recording!
Here is how to record the band in three easy steps:
1. Drum tracking: wire up everything as shown above. Bus the kick (panned left) to subgroup 1 and
snare (panned right) to subgroup 2 so they are recorded to their own tracks in the DAW. They will show
up on inputs 1 and 2. All four subgroup assign 1-2 Left/Right switches should be engaged so these
signals may be monitored in mono. Bus the tom mics and overhead mics to subgroups 3 and 4; set the
pans as preferred. The subgroup assign 3 left and subgroup assign 4 right switches should be engaged.
These signals are recorded and monitored with the pan image as set up on the mixer and will show up
as inputs 3 and 4. Check the levels carefully as they cannot be mixed later. The drums now need to be
mixed in the DAW before overdubbing takes place.
2. Overdubbing: rst, route the stereo USB return into the last stereo channel (23/24 or 31/32,
depending on which VLZ4 4•Bus is being utilized). Next, route the stereo channel to the L/R Main
so playback occurs in the headphones. Now route the bass to the L/R Main by sending the bass mic
(panned left) to subgroup 1, and input 1 to track 5 of the DAW, while sending the bass DI (panned right)
to subgroup 2, and input 2 to track 6 of the DAW. Finally, engage the subgroup assign 1 and 2 Left/
Right switches to hear the bass in mono. Congratulations, you are overdubbing with zero latency!
3. Rinse and repeat: follow these same steps for guitars, keyboards, vocals, kazoos, llamas, and
whatever else you can fit in the studio. It's that easy!
As the session progresses, the engineer, band, producer, A&R representative, and whatever posse may
be present can crank the tunes through a pair of MR8mk3's and nod their collective heads to the beat.
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
power
input
reverb mastergain treble middle
bass
volume channel
1
1
2
gain treble middle bass volume
2
off
on
standby
TDSK
half
full
1
2
3
4
hi
lo
ultra hi / lo
5
master standby
standby/
power/
fault
powertreblefrequencymidrangebassgain
-15dB0dB
ks
pb
no
jd
pa
jh
Laptop
Computer
with audio
production
software
MR8mk3
Powered Reference
Monitors L/R
Headphone Amp
Headphones
Chris
on keys
Francis
on bass
Amplifier
modeler
DI
Box
Dustin
on drums
desTROYer
on six-string
Anthony on
lead vox
background
9
Owner’s Manual
Rear Panel - Connections
1. Mic Ins
ThisisafemaleXLRconnectorthatacceptsa
balancedmicorlinelevelinputfromalmostanytype
ofsource.TheseOnyxmicpreampsfeaturehigher
delityandheadroomrivalinganystandalonemic
preamponthemarkettoday.Thesecircuitsare
excellentatrejectinghumandnoise.
TheXLRinputsarewiredasfollows:
Pin1=Shieldorground
Pin2=Positive(+orhot)
Pin3=Negative(–orcold)
Professional ribbon, dynamic, and condenser mics all
soundexcellentthroughtheseinputs.Themic/line
inputswillhandleanykindoflevelyoucantossat
them,withoutoverloading.
Microphone-levelsignalsarepassedthroughthe
mixer'ssplendidmicrophonepreamplierstobecome
line-level signals.
TheOnyxpreampsacceptbalancedline-levelsignals
becausethemixerisequippedwitha-20dBpadon
channels1-16(2404VLZ4)andchannels
1-24(3204VLZ4)sohotsignalsmaypass.
SeeAppendixB(page31)forfurtherdetailsand
someratherlovelydrawingsoftheconnectorsyoucan
usewithyourmixer.
VLZ4 4•Bus Features
Phantom Power
Mostmodernprofessionalcondensermicsrequire
48Vphantompower,whichletsthemixersend
low-currentDCvoltagetothemic’selectronics
throughthesamewiresthatcarryaudio.(Semi-pro
condensermicsoftenhavebatteriestoaccomplishthe
samething.)“Phantom”owesitsnametoanabilityto
be“unseen”bydynamicmics(ShureSM57/SM58,for
instance),whichdon’tneedexternalpowerandaren’t
affected by it anyway.
Phantompowermaybeselectedbypressinguponthe
mixer'sphantom[21]switch.
Neverplugsingle-ended(unbalanced)
microphones,orribbonmicsintothemic
inputjacksifphantompowerison.Donot
pluginstrumentoutputsintothemicXLRinputjacks
withphantompoweron,unlessyouarecertainitissafe
to do so.
2. Line Ins
These1/4"jackssharecircuitry(butnotphantom
power)withthemicpreamps,andcanbedrivenby
balancedorunbalancedsources.
Toconnectbalancedlinestotheseinputs,usea1⁄4"
Tip-Ring-Sleeve(TRS)plug,wiredasfollows:
Tip=Positive(+orhot)
Ring=Negative(–orcold)
Sleeve=Shieldorground
Toconnectunbalancedlinestotheseinputs,usea
1⁄4"mono(TS)phoneplug,wiredasfollows:
Tip=Positive(+orhot)
Sleeve=Shieldorground
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
background
10
VLZ4 4•Bus
5. Stereo Returns 1-2
Thestereo(aux)returnsaredesignedfor1/4"TRS
balancedor1/4"TSunbalancedsignals,from-20dBto
+20dB.Theyallowthestereoprocessedoutputfrom
externaleffectsprocessorsorotherdevicestobeadded
tothemainmix.
Leveladjustmentoftheincomingsignalsismadewith
thestereoreturncontrols[54].
Youmayalsousetheseinputstoaddanystereo
line-levelsignalstoyourmainmix,soitcouldbe
anotherline-levelsource,notjustaneffectsprocessor.
Ifyouareconnectingamonosource,usetheleft
(mono)stereoreturninput,andthemonosignalswill
appearonbothsidesofthemainmix.
6. Tape Ins / Outs
ThestereounbalancedRCAinputsallowyoutoplay
aCDplayer,iPod
®
dock,orotherline-levelsource.
Thetapeinjacksacceptanunbalancedsignalusing
standardhi-hookupcables.
ThestereounbalancedRCAoutputsallowyouto
recordthemainstereomixontoaharddiskrecorder
orautomaticCDburner,forexample.Thisletsyou
makearecordingforposterity/archive/legalpurposes
whenever the band gets back together again.
Thetapeoutputisthestereomainmix,anditisnot
affectedbythemainmixlevelcontrol[75]. Theoutput
couldalsobeusedasanextrasetofmainoutputsfor
feedinganotherzone.
3. Insert
Theseunbalanced1/4"jacksareforconnectingserial
effectsprocessorssuchascompressors,equalizers,
de-essers,orlters.Theinsertpointisafterthegain
control[23]andlowcutlter[24],butbeforethe
channel’sEQ[31-36]andlevel[43]. The channel signal
cangooutoftheinsertjacktoanexternaldevice,be
processedandcomebackinonthesameinsertjack.To
dothisrequiresastandardinsertcablethatmustbe
wiredthusly:
Tip=Send(outputtoeffectsdevice)
Ring=Return(inputfromeffectsdevice)
Sleeve=Commonground
Insertjacksmaybeusedaschanneldirectoutputs;
post-gain,andpre-EQ.Seetheconnectorsectionon
page30(gureG)showingthreewaystouseinsert
cables.
4. Stereo Line Ins
Thestereolineinputsaredesignedfor1/4"TRS
balancedor1/4"TSunbalancedsignals.Theymay
acceptanyline-levelinstrument,effectsdevice,CD
player,etc.
Levelcontrolisavailable-20dBto+20dBifyouare
connectingamonosource.Usetheleft(mono)stereo
returninput,andthemonosignalswillappearonboth
sidesofthemainmix.
tip
This plug connects to one of the
mixer’s Channel Insert jacks.
ring
tip
ring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
background
11
Owner’s Manual
7. Left/Right Main Outs: XLR & 1/4"
ThemaleXLRconnectorsprovideabalanced
line-levelsignalthatrepresentstheendofthemixer
chain,wherethefullymixedstereosignalentersthe
realworld.Connectthesetotheleftorrightinputsof
yourmainpowerampliers,poweredspeakers,orserial
effectsprocessor(likeagraphicequalizeror
compressor/limiter).TheXLRoutputsare6dB
hotterthantheTRSoutputs.
The1/4"TRSoutputconnectorsprovidebalancedor
unbalancedline-levelsignals.Connectthesetothenext
deviceinthesignalchainlikeanexternalprocessor
(compressor/limiter),ordirectlytotheinputsofthe
mainamplier.Thesearethesamesignalthatappears
attheXLRmainoutputs,but6dBlowerwhentheXLR
isusedbalanced.
8. Main Inserts
These1/4"TRSjacksareforconnectingserialeffects
suchascompressors,equalizers,deessers,orlters.
Theinsertpointisafterthemixamps,butbeforethe
mainmixfader[75].Refertothedescriptionofthe
channelinsertonthepreviouspagetoseehowto
make this connection.
9. Mono Out
ThemaleXLRconnector[balanced]and1/4"TRS
outputconnector[balancedorunbalanced]provide
a line-level signal that is a combination of the left and
rightmainout[7]signals(L+R).Youmayusethisfor
aseparatemixthatdoesnotrequireastereofeed,or
tosimplytestthemonauralcompatibilityofthestereo
mix.Again,whenusedbalanced,theXLRsignalis6dB
higherthanthatfromtheTRSjack.
10. Mono Out Level Control
Thisisaseparatelevelcontrolforthemonoout[9].
Itcomesafterthemainmixfader[75],soturningthe
mainmixfaderupanddowndoesaffectthemonoout
signal.Withthiscontrolturnedallthewayup,youwill
have6dBofextragainatthemonoout.
11. Group Outs 1-4
These1/4"TRSjacksprovidebalancedorunbalanced
line-levelsignalsandaretypicallypatchedtothe
inputsofamultitrackdeck,ortosecondaryampliers
inacomplexinstallation.
12. Group Inserts
These1/4"TRSjacksareforconnectingserialeffects
suchascompressors,equalizers,de-essers,orlters.
Theinsertpointisafterthemixamps,butbeforethe
groupsendmasters[74](andafterthebuilt-instereo
compressor[72]).Refertothedescriptionofthe
channelinsert[3]onthepreviouspagetoseehowto
make this connection.
13. Aux Sends 1-6
These1/4"TRSconnectorsallowyoutosendbalanced
orunbalancedline-leveloutputstoexternaleffects
devices,headphoneampliers,orstagemonitors.These
couldeitherbepassivestagemonitorspoweredbyan
externalamplier,orpoweredstagemonitorswithbuilt-
inpowerampliers.Allsixauxesareindependentof
eachother,soyoucanrunuptosixseparateauxmixes.
Auxsends3-4mayeitherbepreorpostfader,
dependingonthepositionofthepre/postswitches[28].
Forstagemonitorwork,usepre,sothestagemonitors
donotincreaseinvolumewhenthechannellevelis
adjusted.Imaginehowupsettingthatcanbetobighairy
drummers.Thisallowsyoutosetupthemonitormix
andlevelsjustright,andnothaveitchangeeverytime
achannellevelisadjusted.
Forexternalprocessors,usepost.Inthisway,the
feedtoexternalprocessorswillvarywiththechannel
level,sothelevelofanyreturnedeffect(likeanecho)
willalsochangeifthechannellevelischanged,keeping
theminthesameratio(wet/dry).
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
background
12
VLZ4 4•Bus
14. Aux Inserts
These1/4"TRSjacksareforconnectingserialeffects
suchascompressors,equalizers,de-essers,orlters.
Theinsertpointisafterthemixamps,butbeforethe
auxsendmasters[52]andthesoloswitch[60](soyou
mayheartheexternalprocessorwhensoloingtheaux
send).Refertothedescriptionofthechannelinsert[3]
onpage10toseehowtomakethisconnection.
15. Left/Right Monitor Outs
These1/4"TRSjacksprovideabalancedline-level
signalthatmaybeusedtoprovideanadditionalmain
mixoutputortomonitorsoloedchannels.
Connecttheseoutputstotheinputsofanamplier,
poweredspeaker,headphonedistributionamplier,
or recording device.
16. Mono Monitor Out
This1/4"TRSoutputconnectorprovidesabalanced
line-level signal that is a combination of the left and
rightmonitorout[15]signals(L+R).Youmayusethis
foraseparatemixthatdoesnotrequireastereofeed,
ortosimplytestthemonauralcompatibilityofthe
stereomix.
Connecttheseoutputstotheinputsofanamplier,
poweredspeaker,headphonedistributionamplier,
or recording device.
17. Headphone Out
This1/4"TRSconnectorsuppliestheoutputto
stereoheadphones.Itisthesamesignalthatisrouted
tothemonitoroutputs[15-16].Thevolumeis
controlledwiththephonesknob[69],rightnext
tothemonitorknob[68].
Wheneverasoloswitch[41,49,53,55,73]isengaged,
youwillonlyhearthesoloedchannel(s),2-trackreturn,
aux(es),and/orgroup(s)intheheadphones.Thisgives
youtheopportunitytoauditionthechannelsbefore
theyareaddedtothemainmix.(Solosignalsreaching
theheadphonesarenotaffectedbythechannellevelor
mainlevel(exceptinAFLmode),thereforeturndown
thephoneslevelrst,assoloedchannelsmaybeloud.)
Thephonesoutputfollowsstandardconventions:
Tip=Leftchannel
Ring = Right channel
Sleeve=Commonground
WARNING:Theheadphoneampisloud,and
cancausepermanenthearingdamage.Even
intermediatelevelsmaybepainfullyloud
withsomeheadphones.BE CAREFUL!Alwaysturnthe
phoneslevelcontrol[69]allthewaydownbefore
connectingheadphonesorpressingasoloswitch,or
doinganythingnewthatmayaffecttheheadphone
volume.Thenturnitupslowlyasyoulistencarefully.
18. USB In/Out
Thebuilt-inUSBinterfaceallowsforsome
powerfulandexiblerouting.Itisa4x2interface
allowingyoutorecorduptofourstreamsfromthe
mixer,ortoinputstereoplaybackfromacomputer
androuteittonearlyanyoutputorpairofoutputs
onthemixer.TousethisfeaturewithaPC,rst
download the PC ASIO driver from www.720trees.com.
IfconnectingtoaMac,themixerwillshowupasa
4x2devicewithnodriverrequired.
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
background
13
Owner’s Manual
TheUSBroutingcapabilitiesareasfollows:
USB input TO the mixer – playback:
(1)Stereochannel23/24(onthe2404VLZ4)and
31/32(onthe3204VLZ4)featuresaUSBbutton,soone
mayroutecomputeroutput(suchasiTunes
®
)downthe
last stereo channel of the board. This stereo signal may
thenbeEQ'd,senttoauxiliaries(i.e.tofeedmonitors,
headphonesoreffects)andisroutabletomainsand/or
subgroupsviathefaderroutingfeaturesthatare
available on all other channels. In short, this signal may
besenttonearlyanydesiredoutputorpairofoutputs.
Additionally,thegainknobatthetopofthischannel
stripadjuststheUSBinputleveltothemixertoachieve
anoptimalsignallevel.
(2)The2-TrackReturnsectionfeaturesa“ip”
switch,soa“Tape”source(connectedviaRCAcables,
suchasaniPod
®
)ortheUSBsignalfromacomputer
(playingWindowsMediaPlayer
®
les,forexample)may
beroutedtothemainbus.Thissectionalsofeaturesa
solobuttonandinputleveladjustmentforfadinghouse
musicupanddownbetweenbands,atahouseof
worship,oranyothereventwherethismaybe
necessary.
USB output FROM the mixer – recording, etc:
(1)Avarietyofdifferentsignalsmayberecorded
viatheUSBoutputsection,dependingonthesetup.In
the'USBOUT'section,theswitchontheleft[51]will
selecteitherGroups1-2orthemainmixtofeedUSB
outputchannels1-2.Thesecondswitch(totheright)
willselecteitherGroups3-4orAux5-6tofeedUSB
outputchannels3-4.
Forexample,withbothUSBouputswitchesinthe
defaultposition(up),true4-trackrecordingmaybe
accomplishedviaroutingtosubgroups1-4.TheUSBtap
pointsforthesubgroupsarepre-fader(alsopre-insert)
andpost-compressor.Thesignalswillshowuponthe
DAWdependentuponhowtheyarepannedonthe
channels.
Inotherwords,ifsubgroups1and2areusedtosub-
mixdrumsandthosedrumshaveastereoimage
(e.g.overheadsandtomspanaccordingtodesire),this
stereoimageisretainedintheDAWinputs(assuming
subgroup1issetto"L"andsubgroup2issetto"R").
Anyadjustmentsmadetothesubgroupdrumlevels
duringtheshowonlypertaintotheliveshowitself;
recordinglevelsarenotadjustedintheDAWunlessthey
areadjustedonthechannels.However,compression
settingsmadeonthemixerwillapplytotherecording.
Likewise,itispossibletorecordthemainmixtotake
homeacopyoftheliveshow.Theselevelsarealso
pre-mainfader.Therefore,levelsmaybemixedupor
downintheDAWlaterdependingontheneedsofthe
recordingversustheliveshow.Theendresultisthat
fade-insand/orfade-outsmadeduringtheshowdonot
affect recorded levels.
Andnally,itispossibletoroutetheaux5-6(again,
pre-fader)mixersignalsintoaDAWorplug-inhost.
Fromthere,re-routetheoutputoftheDAW(orplug-in
host)backintothemixer.Voilà...apowerfuloutboard
effectsunit!
Successhereispartiallydependentuponthe
computer'sspeed.Itneedstobefastenough
torunatlowbuffersizessothatthereisno
noticeablelatencybetweentheinputsignaland,say,
thereverbreturn.Thiskindofexibleroutingallows
foravarietyofchoices:runningaux5-6aseffectssends
tooutboardgear,internaleffectssends(nativetothe
board),DAWplug-ins(viaUSB)orasmonitormix
feeds...atrulypowerfulfeature!Besuretoreviewthe
softwarerequirementsonwww.720trees.comtoconrm
thatthelatestdevicedriversarecurrentlyinuse.
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
background
14
VLZ4 4•Bus
19. Talkback Mic
Thisiswheretopluginanexternaltalkback
microphone.Dynamicandself-poweredcondenser
microphonesworkwell.
20. Power
Pressthetopofthisrockerswitchinwardstoturnon
themixer.ThefrontpanelpowerLED[57]willglow
withhappiness,oratleastitwillifyouhavethemixer
pluggedintoasuitableliveACmainssupply.
Pressthebottomofthisswitchtoputthemixerinto
standbymode.Itwillnotfunction,butsomecircuitsare
stilllive.ToremoveACpower,eitherturnofftheAC
mainssupply,orunplugthepowercordfromthemixer
andtheACmainssupply.
Asageneralguide,youshouldturnonyour
mixerrst,beforeanyexternalpower
ampliersorpoweredspeakers,andturnit
offlast.Thiswillreducethepossibilitiesofanyturn-on,
orturn-offthumpsinyourspeakers.
21. 48V Phantom Power
Mostmodernprofessionalcondensermicsrequire
48Vphantompower,whichletsthemixersend
low-currentDCvoltagetothemic’selectronicsthrough
thesamewiresthatcarryaudio.(Semi-procondenser
micsoftenhavebatteriestoaccomplishthesame
thing.)“Phantom”owesitsnametoanabilitytobe
“unseen”bydynamicmics(ShureSM57/SM58,for
instance),whichdon’tneedexternalpowerandaren’t
affected by it anyway.
Pressthetopofthisswitchinifyourmicrophone
requiresphantompower.(Alwayschecktheposition
ofthisswitchbeforeconnectingmicrophones.)Ared
LED[56]willilluminatejustabovethemainmix
meters[58]toindicatethatphantompowerisactive.
Thisisaglobalswitchthataffectsallmicchannels'XLR
jacksatonce.
Neverplugsingle-ended(unbalanced)
microphones,orribbonmicsintothemic
inputjacksifphantompowerison.Donot
pluginstrumentoutputsintothemicXLRinputjacks
withphantompoweron,unlessyouknowforcertainit
is safe to do so. Besurethemainlevel[75]isturned
downwhenconnectingmicrophonestothemicinputs
whenphantompoweristurnedon,topreventpopsfrom
gettingthroughtothespeakers.
22. Power Connection
Thisisastandard3-prongIECpowerconnector.
Connectthedetachablelinecord(includedinthebox
withyourmixer)tothepowerreceptacle,andplugthe
otherendofthelinecordintoanACoutlet.The
VLZ44•BusSeriesMixershaveauniversalpower
supplythatcanaccept
any AC voltage ranging from
100 VAC to 240 VAC. No need for voltage select switches.
Itwillworkvirtuallyanywhereintheworld.That’swhy
wecallita“Planet-Earth”powersupply!Itisless
susceptibletovoltagesagsorspikes,comparedto
conventionalpowersupplies,andprovidesgreater
electromagneticisolationandbetterprotectionagainst
AC line noise.
Disconnectingtheplug’sgroundpinis
dangerous.Don’tdoit.
POWER
ON
PHANTOM
ON
3 2 1 2 1
2 1
6 5 4
3 2 16 5 4
3 2 14
SUBGROUP OUTS
BAL / UNBAL
SUBGROUP INSERTS
TIP SEND, RINGRETURN
AUX INSERTS
TIP SEND, RING RETURN
AUX SENDS
BAL / UNBAL
3 2 14
L
R
MONO
L
R
MONO
STEREO RETURNS
BAL / UNBAL
21/22 23/24
BAL / UNBALBAL / UNBAL
MONITOR
MONO
MONITOR
L
R
100 - 240 V
50 - 60 Hz 55W
TALKBACK
MIC
RIGHT
MAIN OUT
INSERT LINE
LEFT
MAIN OUT
INSERT LINE
MONO
MAIN OUT
INSERT LINE
LEVEL
OUTPUT
L
USB
R
L
R
TAPE
OUTIN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
TIP SEND
RING RETURN
BAL / UNBAL BAL / UNBAL BAL / UNBAL
20
20
20
19
19
19
18
18
18
17
17
17
16
16
16
15
15
15
14
14
14
13
13
13
12
12
12
11
11
11
10
10
10
9
9
9
8
8
8
7
7
7
6
6
6
5
5
5
4
4
4
3
3
3
2
2
2
1
1
1
ONYX MIC PREAMPS
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
LINE (BAL / UNBAL)
INSERTS (TIP SEND, RING RETURN)
ONYX MIC PREAMPS
UNBALANCED
REVISION
SERIAL NUMBER
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA. OPERATION
IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND
(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
+6
U
3
14
20
2
13
1
16 11
17 12
22 7 7 9 18
21 19
415
5
10888 6
background
15
Owner’s Manual
VLZ4 4•Bus Features
Front Panel - Channel Strip
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
23 23
35
36
24 4444
25 4526
27
28
29
31
32
33
34
37
43
30
38
39
40
41
42
background
16
VLZ4 4•Bus
Channel Controls
Theverticalchannelstripslookverysimilar,and
haveonlyafewdifferencesbetweenthem.Each
channelworksindependently,andjustcontrolsthe
signalspluggedintotheinputsdirectlybehindit.
“U” like Unity gain
VLZ4mixershavea“U”symbolonalmosteverylevel
control.Itstandsfor“unitygain,”meaningnochangein
signallevel.Thelabelsonthecontrolsaremeasuredin
decibels(dB),soyou’llknowwhatyou’redoing
level-wiseifyouchoosetochangeacontrol’ssettings.
23. Gain Control
Ifyouhaven’talready,pleasereadthegettingstarted
sectiononpage6.
Thegainknobsadjusttheinputsensitivityofthemic
andlineinputs.Thisallowssignalsfromtheoutside
worldtobeadjustedtorunthrougheachchannelat
optimalinternaloperatinglevels.
IfthesignaloriginatesthroughthemicXLRjack,
therewillbe0dBofgainwiththeknobfullydown,
rampingto60dBofgainfullyup.
Throughthe1⁄4"lineinputofchannels1-20
(2404VLZ4)andchannels1-28(3204VLZ4),thereis20
dBofattenuationfullydownand40dBofgainfullyup,
withunitygain“U”at10:00.
Throughthe1⁄4"lineinputofchannels21/22and
23/24(2404VLZ4)and29/30and31/32(3204VLZ4),
thereis20dBofattenuationfullydownand20dBof
gainfullyup,withunitygain“U”at12:00.
This20dBofattenuationcanbeveryhandywhenyou
areinsertingahotsignal,orwhenyouwanttoaddEQ
gain,orboth.Withoutthis“virtualpad,”thereismore
chanceofchannelclipping.
24. Low Cut
Allmonochannelshavealow-cutswitch(often
referredtoasahigh-passlter)thatcutsbass
frequenciesbelow100Hzatarateof18dBperoctave.
Werecommendthatyouuselow-cutonevery
microphoneapplicationexceptkickdrum,bassguitar,
orbassysynthpatches.Theseaside,thereisn’tmuch
downtherethatyouwanttohear,andlteringitout
makesthelowstuffyoudowantmuchmorecrispand
tasty.Notonlythat,butlow-cutcanhelpreducethe
possibilityoffeedbackinlivesituations,andithelps
toconserveamplierpower.
Anotherwaytoconsiderlow-cut’sfunction
isthatitactuallyaddsexibilityduringlive
performances.Withtheadditionoflow-cut,
youcansafelyuselowequalizationonvocals.Many
times,bassshelvingEQcanreallybenetvoices.
Troubleis,addinglowEQalsoboostsstagerumble,
michandlingclunksandbreathpopsfromway-down
low.Applyinglow-cutremovesallthoseproblems,
soyoucanaddlowEQwithoutblowingyoursubwoofers.
25. Pad (-20 dB) Switch
Inmostcases,thepadswitchwillbedisengaged.
However,microphonesandbalancedline-levelsignals
thatproduceahigheroutputthanusualmayrequire
thatthegaincontrol[23]isturnedwaydown.Ifthisis
thecase,engagethepadswitchtoallowanadditional
20dBattheinputtothemicpreamp.Thisprevents
overloadingthemicrophonepreampandprovidesbetter
gaincontrol.ThepadonlyappliestoXLRinputs,notthe
1/4"TRSinputs.
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
23
26
23
24
25
background
17
Owner’s Manual
Atthemaximumcompression,thethresholdissetat
0dBu,andtheinputtooutputrelationshipis
representedbythelowercurve.Iftheinputis-5dBu
(thatis,belowthethreshold),theoutputis-5dBu.As
theinputreaches0dBu,theoutputisabitlessthan
0dBu.Iftheinputis+5dBu,theoutputisabout
+2dBu.Iftheinputreaches+10dBu,thentheoutput
is+3dBu.Noticetheshapelycurveofthesoftknee
betweenthediagonalslopeofx=yandthecompressor
slopeof6:1(thecompressionratio).
Theotherbluecurvesrepresentin-betweenpositions
ofthecompressorknob,withhigherthresholdsbefore
compressionbegins.
Outboardcompressorsoftenhavecontrolssuchas
compressionratio,threshold,softknee/hardknee,
attack time, and release time. These last two affect how
quicklythecompressorkicksinwhentheinputexceeds
thethreshold,andhowquicklyitisreleasedafterit
dropsbelowthethreshold.Inthiscompressor,these
parametersarespeciallychosentogiveyouthebest
overallperformance.
Adjustthethresholdcarefully,soyourdynamicrange
isstilllovely,withoutdistortionoroverloadduringthe
performance.Runthroughafewpracticescreamsand
high-notes,andadjustthecompressionasrequired.
26. Compressor
Eachofthelastfourmonochannelsinthe
VLZ44•Busmixerhasanin-linecompressorcircuit
withavariablethreshold.Thisisveryusefulfor
compressionofvocals,andsnaredrums,forexample,
soyoumightconsiderconnectingyourmicrophones
anddrummicstothesechannels,ratherthanother
channels.
Whentheincomingsignalsexceedthethresholdlevel
setbythisknob,thesignallevelisautomatically
compressed.Thisreducesthedynamicrange,and
reducesthechanceofdistortionduetooverloadingthe
inputsignals.
Dynamic range is the difference in level
betweenthequietestandloudestpartsofa
song.Acompressor“squeezes”thedynamic
range,resultinginanoverallsteadier,moreconstant
volumelevelforthesignal.Ithelpssources,suchas
vocals,“sit”properlyinthemix;itisveryusefulforlive
sound.
Thecompressionratioisxedataround6:1,with
asoftkneeresponse.Thethresholdmaybeadjusted
clockwisefromoff(nocompression)to0dBu(max).
Asanexample,supposethethresholdissetto
maximum.Anincomingsignalreachesthethresholdof
0dBu.Asitincreasesbeyondthethreshold,itbecomes
compressedataratioof6:1.Thismeansthatevenifthe
inputfurtherincreasesby6dB,theactualoutputonly
increasesby1dB.Thiscompressestheoutputsignal,so
thereismoreprotectiontoyoursystemfromdistortion
andoverloadduetopoormicrophonetechnique(say
itain'tso)andgeneralpops,bangsandheavymetal
screaming.Thesoftkneemeansthatthecompression
slowlyrampsupto6:1fromthethreshold.Itdoesnot
jumpabruptlyto6:1,asthiswouldbehardknee
compression,andharderontheearstoo.
Thegraphonthispageshowstheinputsignallevel
goingintothecompressor,versustheoutputlevel
comingoutofit.Itisthetypicalgraphtoseewhen
compressorsarediscussed,andisjustthekindofthing
ourengineersliketodiscussduringthecompany
Christmasparty*.
Ifthecompressorisoff,thentheinput=output.For
exampleaninputsignallevelof+5dBuresultsinan
outputlevelof+5dBu.Thediagonallinefromlowerleft
toupperrightrepresentsx=y,thatis,input=output.
+20
-10
-5
+0
+5
+10
+15
+20-10 -5 +0
SLOPE 6:1
SOFT KNEE
SLOPE 1:1
+5 +10 +15
INPUT SIGNAL STRENGTH dBu
OUTPUT SIGNAL STRENGTH dBu
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
*MyHighSchoolmathteacher,Mr.Marvin,thoughtthat
graphsmightcomeinhandyformeoneday.Finally!
background
18
VLZ4 4•Bus
27. Aux Sends 1-6
Thesecontrolsallowyoutosetup
tosixindependentmixes,typically
forrunningstagemonitorsor
externaleffectsprocessors.
Thecontrolsareoffwhenturned
fullydown,deliverunitygainatthe
center,andcanprovideupto15dB
ofgainturnedfullyup.Chancesare
thatyouwillneverneedthisextra
gain,butit'snicetoknowthatit's
thereifyoudo.
AuxSends1-6[13]areline-level
outputs,andareusedifyouwant
toconnectexternalprocessors,
poweredstagemonitors,orexternal
powerampswithpassivestage
monitors.StereoReturns1-2[5]
areline-levelinputs,typicallyused
toreturntheoutputfromexternal
processorsbacktothemainmix.
Carefullyadjusthowmuchofeach
channelappearsinyourauxmixes.
Forexample,ifyouarerunning
stage monitors, and someone wants
“moreme,andlessthem,”adjust
thesecarefully.
Auxsends3-4caneitherbepreor
postfader,dependingontheposition
oftheauxpre/postswitches[28].
Forstagemonitorwork,usepre,so
the stage monitors do not increase in
volumewhenthechannellevelisadjusted.Forexternal
processors,usepost.Inthisway,thefeedtoexternal
processorswillvarywiththechannellevel,keeping
theminthesameratio(wet/dry).
28. Pre-Fader / Aux Sends 1-2
Auxsends1-2arealwayspre-fader,designedfor
stagemonitorapplications.Auxsends3-4maybeset
topre-orpost-fader,sotheymaybeusedformonitors
or effects.
Pre-fader:withthepreswitchengaged(pressedin,
notcommitedtomarriage),aux3and4deliversignals
post-insert,post-lowcut,postEQ,post-muteand
pre-fader.Anychangesmadetothechannelcontrols,
exceptthefader,willaffecttheauxsendsignal.
Post-fader:withthepreswitchdisengaged(up),
aux3and4deliversignalspost-insert,post-lowcut,
post-mute,post-EQandpost-fader.Anychangesmade
tothechannelcontrolswillaffecttheauxsendsignal.
29. Int FX 1-2 / Aux Sends 5-6
Thesecontrolshavedualfunctionsdependingon
whatyourneedsareatanygiventime.Theyallowyou
tosendsignaleithertointernaleffectsFX1andFX2,or
toaux5andaux6,typicallyusedforrunningstage
monitorsorexternaleffectsprocessors.
AuxSends5-6(orFX1-2)arepost-fader.Anychanges
made to the channel controls will affect the signal going
totheinternaleffectsprocessorsortotheaux5-6
outputjacks[13].Adjustmentstothechannelfader
[43],gain[23]andchannelEQ[31-36]willaffectthe
feedgoingtotheinternaleffectsprocessors.
30. Int FX / Aux 5-6 Switch
Thisswitchdeterminesifthatchannel'scontrols
[29,above]willbeusedforrunningtheinternaleffects
processors(engaged)orasaux5-6(disengaged).
Channel Equalization (EQ)
All VLZ44•Busmonochannelshave3-bandEQwith
shelvinghigh,peakingmidwithadjustablemid
frequencyandshelvinglow.Thestereochannelshave
peakinghi-midandpeakinglow-midEQcontrolsin
additiontotheshelvinghighandshelvinglowEQ
controls.
Shelvingmeansthatthecircuitryboostsorcutsall
frequenciespastthespeciedfrequency.Forexample,
thelowEQboostsbassfrequenciesbelow80Hzand
continuingdowntothelowestnoteyouneverheard.
Peakingmeansthatcertainfrequenciesforma“hill”
aroundthecenterfrequency.
WithtoomuchEQ,youcanreallyupsetthings.
We’vedesignedalotofboostandcutintoeach
equalizercircuitbecauseweknowthateveryone
willoccasionallyneedthat.ButifyoumaxtheEQ
oneverychannel,you’llgetmixmush.Equalizesubtly
andusetheleftsidesoftheknobs(cut),aswellasthe
right(boost).Ifyoundyourselfrepeatedlyusinga
lotofboostorcut,consideralteringthesoundsource,
suchasplacingamicdifferently,tryingadifferentkind
of mic, a different vocalist, changing the strings, or
gargling.
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
27
28
29
31
32
33
34
30
Mono channel
background
19
Owner’s Manual
31. High EQ
ThehighEQprovidesupto
15dBofboostorcutabove
12kHz,anditisalsoat(no
boostorcut)atthedetent.
Useittoaddsizzletocymbals,
an overall sense of
transparency,oranedgeto
keyboards,vocals,guitarandbaconfrying.Turnitdown
alittletoreducesibilanceortomasktapehiss.
32. Mid EQ And 33. Freq (Mono Channels Only)
Themonochannelsemploy
asemi-parametricmid-sweep
EQ.Thegain(upto15dBof
boostorcut)issetviathemid
eq[32],andthen“aimed”ata
specicfrequency,from
100Hzto8kHz,viafreq[33].
34. Low EQ
ThelowEQprovidesupto
15dBofboostorcutbelow
80Hz.Thecircuitisatat
thecenterdetentposition.
Thisfrequencyrepresentsthe
punchinbassdrums,bass
guitar,fatsynthpatches,and
somereallyseriousmalesingerswhoeatrawbeeffor
breakfast.
35. High Mid EQ Level (Stereo Channels Only)
ThehighmidEQprovides
upto15dBofboostorcut
at2.5kHz,anditisatat
thedetent.MidrangeEQis
oftenthoughtofasthemost
dynamicbecausethe
frequenciesthatdeneany
particularsoundarealmostalwaysfoundwithinthis
range.Forexample,thefemalevocalrangeaswell
asthefundamentalsandharmonicsofmany
higher-timbredinstruments.
36. Low Mid EQ Level (Stereo Channels Only)
ThelowmidEQprovidesup
to15dBofboostorcutat
400Hz,andisatatthe
detent.Frequenciesaffected
typicallyincludethemale
vocal range as well as the
fundamentalsandharmonics
ofmanylower-timbredinstruments.
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
Stereo channel
27
28
29
31
35
36
34
37
43
30
38
41
42
39
40
37. Pan
Thiscontrolallowsyoutoadjust
howmuchofthechannelsignal
issenttotheleftversustheright
outputs.
Withtheknobpannedhardleft,
the signal feeds the main left,
group1,orgroup3busses,
dependingonthesettingofthe
assign switches [42]. With the knob
pannedhardright,thesignalfeeds
themainright,group2,orgroup4
busses,againdependentonthe
setting of the assign switches [42].
Thebalancecontrolemploysa
designcalled“ConstantLoudness.”
Ifyouhaveachannelpannedhard
left(orright)andthenpantothe
center,thesignalisattenuated
about3dBtomaintainthesame
apparentloudness.Otherwise,it
wouldmakethesoundappearmuch
louderwhenpannedcenter.This
controlisproperlycalled“BAL”for
balance in the stereo channels.
38. Mute
Muteswitchesdojustwhatthey
soundliketheydo.Theyturnoffthe
signalby“routing”itintooblivion.
Engagingachannel'smuteswitch
(almost)providesthesameresults
asturningthefaderalltheway
down(apre-auxsendisnotaffected
bythechannelfader,butitisby
themuteswitch).Anychannel
assignmentstomainmix,group1-2,
orgroup3-4willbeinterruptedand
alloftheauxsendswillbesilenced
(bothpre-andpost-fader).The
channelinsert[3]willcontinueto
provideasignalwhenachannel
ismuted.TheOLLED[39]will
illuminatewhenachannel'smute
switch is engaged.
39. OL LED
ThisLEDindicatesthechannel’s
signallevelafterthegainandEQ
controls,butjustbeforethe
channel’slevel.Soevenifthelevel
isturneddown,youcanseeifthe
channel is being overloaded.
background
20
VLZ4 4•Bus
TheOL(overload)LEDwillcomeonwhenthe
channel’sinputsignalistoohigh.Thisshouldbe
avoided,asdistortionwilloccur.IftheOLLEDcomes
onregularly,checkthatthegaincontrol[23]isset
correctlyforyourinputdevice,andthatthechannel
EQisnotsetwithtoomuchboost.TheOLLEDwill
alsoilluminatewhenachannel'smuteswitch[38]is
engaged.
40. SIG LED
ThisLEDalsoindicatesthechannel’ssignallevel
afterthegainandEQcontrols,butjustbeforethe
channel’slevel.Soevenifthelevelisturneddown,you
canseeifasignalispresent.
TheSIG(signal)LEDwillcomeonwhenthe
channel’sinputsignal(atleast-20dBu)ispresent.
Itshouldilluminatenon-stopifsignalabove0dBuis
presentinthatchannel.ThisLEDwillbesolidwhena
channel'ssoloswitch[41]isengaged.
41. Solo
Wheneverachannel'ssoloswitchisengaged,you
willhearonlythesoloedchannel(s)intheheadphones
andmonitoroutputs.Thisgivesyoutheopportunityto
auditionthechannelsbeforetheyareaddedtothemain
mix.InPFLmodeyoucanhearthesolosignal,even
whenthechannel'sfaderisdown.
Soloisalsousedtosetthegainofeachchannel
correctly.Whenachannelissoloed,adjustthe
channelgain[23]untiltheinputsourcereaches
thelevelofthe0dBLEDoftheleftmeter.Select
PFLontheSOLOMODEswitch[60]forgainsetting.
Solosignalsreachingtheheadphonesand
monitoroutputsarenotaffectedbythe
channellevel(unlesstheSOLOMODEswitch
issettoAFL)ormainlevel;therefore,turndownthe
phoneslevel[69]andmonitorlevel[68]rst,assoloed
channelsmaybeloud.
Therudesololight[59]willturnonasareminder
thatwhatyouarelisteningtointheheadphonesand
controlroomisjustthesoloedchannel(s),2-track
return,stereoreturn(s),aux(es),and/orgroup(s).If
thesolosourceisaninputchannel,thatchannel'sSIG
(signal)LED[40]willilluminatewhenthatchannelis
soloed.
42. Assign
Alongsideeachchannelfaderarethreebuttons
referred to as channel assignment switches. Used in
conjunctionwiththechannel'sbalanceknob[37],they
areusedtodeterminethedestinationofthechannel's
signal.
Withthepanknobatthecenterdetent,theleftand
rightsidesreceiveequalsignallevels(mainmixL-R,
group1-2,andgroup3-4).Tofeedonlyonesideorthe
other,turnthepanknobaccordingly.
Ifyouaredoingamixdowntoa2-track,forexample,
simplyengagethemainmixswitchoneachchannel
thatyouwanttohear,andtheywillbesenttothemain
mixbus.Ifyouwanttocreateagroupofcertain
channels, engage either the 1-2 or 3-4 switches instead
ofthemainmix,andtheywillbesenttotheappropriate
groupfaders.Fromthere,thegroupsmaybesentback
tothemainmix(usingthegroupassignswitches[73]
abovethegroupfaders[74]),allowingyoutousethe
groupfadersasamastercontrolforthosechannels.
Ifyouarecreatingnewtracksorbouncingexisting
ones,youwillalsousethe1-2and3-4switches,butnot
themainmixswitch.Hereyoudonotwantthegroups
sentbackintothemainmixbus,butsentout,viathe
groupoutjacks[11],toyourmultitrackinputs.
43. Channel Fader
Thisisthelastcontrolinachannel’ssignalpath,and
itadjuststhelevelofeachchannelontothemainmix.
The“U”markindicatesunitygain,meaningnoincrease
ordecreaseofsignallevel.Allthewayupprovidesan
additional10dB,shouldyouneedtoboostasectionof
asong.Ifyoundthattheoveralllevelistooquietor
tooloudwiththelevelnearunity,checkthatthegain
control [23] is set correctly.
44. FX1 and FX2
Whenengaged,theseswitches,locatedjustbelowthe
stereochannels'gaincontrols[23],indicatethatyou
wanttoreturntheinternalFXprocessorsignaltothe
stereochannel.TheTRSinputsaredisengagedwhen
theswitchisdepressed.
RemembertoturntheFXprocessorlevel
controlstoaux1/2andmainallthewaydown
toavoiddouble-bussingtheFXreturn.
SeeAppendixE(page37)foralistoftheeffects
providedandadescriptionofeachone.
45. USB Switch
TheUSBswitchonthelaststereochannelprovides
stereoplaybackofiTunes
®
, or a DAW via the USB
connection.Likeanyotherinput,thissignalmayalso
beEQ'd,senttoanauxbus,ormixedinwiththeother
signalsandassignedtosubgroupsormainouts.This
switchoverridesboththeTRSinputs[5]andtheFX2
switch [44].
background
21
Owner’s Manual
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!
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...
46. Lamp
ThisfemaleBNCconnectorprovides12voltsDCwith
thecenterpinpositive.Connectanyqualitygooseneck
lamphere.
47. Suck Knob
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.
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).
2-Track, USB, Aux Masters
and Meters
Thissectionincludesthe2-trackreturns,USB,aux
mastersandstereoreturns,andthemeters.A4x2USB
recordingandplaybackfunctionisatyourdisposal.
Thismeansuptofoursignalsmayberecorded
simultaneouslyandastereomixreturnedtothemixer
forplayback.
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]
andaux1-2maygetinternaleffectsprocessoroutput
viatheFXtoAUXcontrols[62].Anyorallofthese
signalsaremixedtogether,sautéedtoaturnandsent
outtheauxsendjacks[13]aftertheoptimumoutput
levelisdeterminedbytheauxmasters[52].Auxsends
fromthechannelsarepre-fader(aux1-2),selectable
pre-orpost-fader(aux3-4),andpost-fader(aux5-6).
Allarepost-EQ.
Post-faderauxsendsmaybefedtotheinputsofan
externalprocessorlikeareverbordigitaldelay.From
there,theoutputsofthisexternalprocessorarefed
backtothemixer’sstereoreturnjacks[5].Thenthese
signalsaresentthroughthestereoreturnlevelcontrols
[54],andnallydeliveredtothemainmixortoauxes
1-4 to add effects to monitors if so desired by the talent
[“Moreme!Morereverb!”].
1 2
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
AUX MASTER
LR
STEREO RETURNS
0 dB=0 dBu
LEFT
RIGHT
50%
100%0%
25% 75%
46
47
48
52
54
55
60
59
58
56 57
49
53
50 51
background
22
VLZ4 4•Bus
51. USB Out
Thesetwoswitchesallowformonstrousexibilityon
thefourrecordablesignals.Thedefaultswitch
conguration(disengaged)routessubgroups1-4over
theUSBconnectiontoyourfavoriteDAWsoftwarefor
a “mixitlater”4-trackrecording.Engagingtheswitch
ontheleftallowsthemainL-Rmixtoberecordedfor
convenientstereomixesoftheshow.Theother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.
52. Master Aux Sends 1-6
Theseknobsprovideoverallcontrolovertheauxsend
levels,justbeforetheyaredeliveredtotheauxsend
outputs[13].Theseknobsgofromoffto+15dbwhen
turnedallthewayup.
Thisisusuallytheknobyouturnupwhenthelead
singerglaresatyou,pointsathisstagemonitor,and
stickshisthumbupintheair.(Itwouldfollowthatif
thesingerstuckhisthumbdown,you’dturntheknob
down,butthatneverhappens.)
Keepinmindthatauxsends3-4mayeitherbe
pre-orpost-fader,dependingontheposition
ofthechannel'sauxpre/postswitch[28].
53. Master Aux Sends Solo
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ashtolet
youknowthesolosystemisactive.
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
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.
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.
55. Stereo Returns Solo
Thisbuttonallowsyoutosoloastereoreturn.The
rudesoloLED[59]willash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.
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)
microphones,orribbonmicsintothemic
inputjacksifphantompowerison.Donot
pluginstrumentoutputsintothemicXLRinputjacks
withphantompoweron,unlessyouarecertainitissafe
to do so.
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.
1 2
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
AUX MASTER
LR
STEREO RETURNS
0 dB=0 dBu
LEFT
RIGHT
50%
100%0%
25% 75%
46
47
48
52
54
55
60
59
58
56 57
49
53
50 51
background
23
Owner’s Manual
58. Left/Right Level Meters
Thesepeakmetersaremadeupoftwocolumnsof
twelveLEDs,withthreecolorstoindicatedifferent
rangesofsignallevel,trafclightstyle.Theyrangefrom
–30atthebottom,to0inthemiddle,to+20(CLIP)at
thetop.
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ashinganywhere
between–20and+10dBonthemeters.Mostampliers
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ashes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.
60. Solo Mode
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.
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].
background
24
VLZ4 4•Bus
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].
*Affectionatelyreferredtoas“themeat'npotatoes”.
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
61 67
68
69
7072
73
74 75
71
64
65
66
63
62
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exibility.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.
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.
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
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.
background
25
Owner’s Manual
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
61 67
68
69
7072
73
74 75
71
64
65
66
63
62
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.
1 Plate Reverb 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.
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.
• 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ash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rstapplied,theseLEDswill
illuminateandtheFXwillbemutedforabout10
secondswhilethelittleFXgerbilsinsidesettledown.
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.
background
26
VLZ4 4•Bus
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
conrmation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ne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.
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unattering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ngers,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pandamodes.
Inpmode,sincep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).
background
27
Owner’s Manual
Aisastereosolobus,soina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]rst,
assoloedchannelsmaybeloud.
Therudesololight[59]willturnonasareminder
thatwhatyouarelisteningtointheheadphones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!
background
28
VLZ4 4•Bus
Appendix B: Connections
Appendix A: Service Information
Ifyouthinkyourmixerhasaproblem,pleasecheck
outthefollowingtroubleshootingtipsanddoyourbest
toconrmtheproblem.VisittheSupportsectionofour
website(www.720trees.com)whereyouwillndlotsof
usefulinformationsuchasFAQs,documentationand
anyupdatedPCdrivers,etc.Youmaynd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?
• 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
ampliers.Checktheloudspeakeraverageload
impedanceisnotlessthantheminimumyour
ampliercanhandle.Checkthespeakerwiring.
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
• 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.
Repair
Forwarrantyservice,refertothewarranty
informationonpage39.
Non-warranty service is available at a factory-
authorized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,Pacic
Time,toexplaintheproblem.TechSupportwilltell
youwherethenearestfactory-authorizedservicecenter
islocatedinyourarea.
Balanced XLR Input Connector
The802VLZ4mixerhasthreefemaleXLR
inputs.BesurethecablesarewiredperAES
(AudioEngineeringSociety)standards:
Balanced XLR Input Connector
Pin1–Shield(Ground)
Pin2–Positive(+orhot)
Pin3–Negative(–orcold)
2
3
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
2
1
Balanced XLR Input Connector
background
29
Owner’s Manual
Balanced XLR Output Connector
ThemaleXLRconnectorsprovideabalancedline-
level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amplier(withspeakersalreadyattached).
BesurethecablesarewiredperAES(Audio
EngineeringSociety)standards:
Balanced XLR Output Connector
Pin1–Shield(Ground)
Pin2–Positive(+orhot)
Pin3–Negative(–orcold)
Balanced 1/4" TRS Connector
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)
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microphones.They
mustbeseparatedintoaleftcordandaright
cord,whicharepluggedintothetwomic
preamps.
2
1
SHIELD
COLD
HOT
3
SHIELD
COLD
HOT
3
2
1
Balanced XLR Output Connector
SLEEVE
TIP
SLEEVE
TIP
RING
RING
TIP
SLEEVERING
Balanced 1/4" TRS Connector
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.
• 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).
Unbalanced 1/4" TS Connector
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:
Unbalanced 1/4" TS Connector
Sleeve–Shield(Ground)
Tip–Positive(+orhot)
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
Unbalanced RCA Connector
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
TIP
SLEEVE
TIP
SLEEVE
Unbalanced 1/4" TS Connector
TIPSLEEVETIPSLEEVE
Unbalanced RCA Connector
background
30
VLZ4 4•Bus
TRS Send/Receive Insert Jacks
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.
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.
Unbalanced 1/4" Insert Connectors
tip
This plug connects to one of the
mixer’s Channel Insert jacks.
ring
tip
ring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
Using the Send Only on an Insert Jack
IfyouinsertaTS(mono)1⁄4"plugonlypartially(to
therst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).
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.
Direct out with no signal interruption to master.
Insert only to first click.
Channel Insert jack
Channel Insert jack
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second click.
For use as an effects loop.
(Tip = Send TO effect, Ring = Return FROM effect).
MONO PLUG
MONO PLUG
STEREO
PLUG
Using the Send Only on an Insert Jack
background
31
Owner’s Manual
Specications
Noise Characteristics:
(Mic in to Insert Send out, max gain.)
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)
Main Mix fader unity, channel faders @ unity:
2404: –81.5 dBu
3204: –80.0 dBu
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.)
Channel Mute switch engaged: –90 dBu
Channel Fader down: –88 dBu
Common Mode Rejection Ratio (CMRR):
(Mic in to Insert Send out, max gain.)
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
4-Band Equalization (stereo channels)
Low: ±15 dB @ 80 Hz
Low-Mid: ±15 dB @ 400 Hz
High-Mid: ±15 dB @ 2.5 kHz
High: ±15 dB @ 12 kHz
USB
Format: USB 1.1
I/O: Stereo Input, 4 Channel
Output
A/D/A: 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
Physical Dimensions and Weight
Front Height: 1.8 in / 46.3 mm (both)
Rear Height: 6.0 in / 153 mm (both)
Depth: 19.1 in / 486 mm (both)
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)
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
specicationsatanytimewithoutnotice.
The“RunningMan”gure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.
Appendix C: Technical Information
background
32
VLZ4 4•Bus
Block Diagram
L
R
PFLSolo
M ain
PFLsolo
AFL solo L
Monitor
Level
Insert
Level
Pan
L
R
Sub 1 Out
(Sub 2-4 identical)
Phones
Monitor Out
L
R
Lsum
R sum
Sub 1 sum
1
2
Sub
Aux 1 (pre)
Aux 1
Assign
Talkback
Assign
Hudson River
Central Park
3-Band EQ
w/ Swept Mid
Aux 2
Aux 2 (pre)
FX 1
FX 2
FX1
FX 2
3
4
Internal FX 1
(Internal FX 2 identical except
returns to second stereo
channel)
Sub 1 level
Sub Assign To
Main Mix
L
R
Stereo
Return 1 & 2
L
R
Main
1
2
Sub
3
4
L/R
1/2
3/4
L Insert
R Insert
To Main Mix
Mute
Talkback
Level
Main Out
48V
Mono Channels
1-16 (2404)
1-24 (3204)
Mic
+
-
Mic: 0 ~ +60dB
Line: -15 ~ +45dB
Stereo Channels
21/22 & 23/24 (2404)
29/30 & 31/32 (3204)
4-Band EQ
Level
Pan
Assign
L/R
1/2
3/4
Mute
Aux 5
PFL Solo
RUDE
SOLO
LED
Meter
Select
To Aux 1
Solo
Solo
LO MID
80 100~8K
12K
HI
Line
Gain
Aux 1 Level
Preset select
FX
Preset
Display
Global 48v
Switch/LED
To Aux 2
Aux 6
Aux 3
Aux 4
Aux 5
Aux 6
Aux 1
Aux 2
HPF In
bypass
Solo Logic
Solo
USBOut
FX 1 Bypass
Logic
In
FX 1
Out L
Out R
MID
Phantom Power
(To All Mics)
Phantom Power
R
L
L
R
Int FX 1 Out L
FX 1
Line
LO MIDMID
80 4002.5K
12K
HI
LO MIDMID
80 4002.5K
12K
HI
Int FX 1 Out R
(FX2 on 2
nd
st ch.)
Tap
Solo
USB
In
FX Mu te
Active
L
R
Tape Out
Tape Input
L
R
2 track Input
Level
Main
level
+
-
+
-
+
-
+
-
Aux 3 (pre/post)
Aux 4 (pre/post)
Aux 1
Aux 2
post
pre
Aux 3
Aux 4
To Aux 3
To Aux 4
L-R
Aux1-4
Aux 3
Aux 4
USB
Tape
Solo
Phones
Level
Solo
Level
AFL solo R
AFL solo L
AFL solo R
Solo (2&4)
Solo (1&3)
Solo
AFL Solo
Insert
Insert
Aux1
Aux2
Main
Mono Out
Mono level
-20dB pad
-20 Sig (flicker)
solo (on)
OL (flicker)
mute (on)
-20 Sig (flicker)
solo (on)
OL (flicker)
mute (on)
FX 1 master level
HPF
100Hz
Mono Channels
17-20(2404)
25-28(3204)
Mic
+
-
Mic: 0 ~ +60dB
Line: -15 ~ +45dB
Line
Gain
HPF In
bypass
Phantom Power
HPF
100Hz
Comp
Comp
L
R
AFL
PFL
Solo mode
Mono Insert
Aux 1 sum
Aux 5
Aux 6
Aux 5 (post)
Aux 6 (post)
to USB 1-2
FX1
FX2
FX2
FX1
USB
(Second stereo
channel only)
Aux 1 Out
(Aux 2-6 identical)
Sig/OL
L
R
(To first stereo channel)
post
pre
Gain
-20 ~ +20dB
Sub 1
Sub 4
Sub 3
Aux 6
to USB 3-4
Aux 5
Sub 2
Mono
Aux 5-6
Sub 3-4
Main L-R
Sub 1-2
background
33
Owner’s Manual
L
R
PFLSolo
M ain
PFLsolo
AFL solo L
Monitor
Level
Insert
Level
Pan
L
R
Sub 1 Out
(Sub 2-4 identical)
Phones
Monitor Out
L
R
Lsum
R sum
Sub 1 sum
1
2
Sub
Aux 1 (pre)Aux 1
Assign
Talkback
Assign
Hudson River
Central Park
3-Band EQ
w/ Swept Mid
Aux 2
Aux 2 (pre)
FX 1
FX 2
FX1
FX 2
3
4
Internal FX 1
(Internal FX 2 identical except
returns to second stereo
channel)
Sub 1 level
Sub Assign To
Main Mix
L
R
Stereo
Return 1 & 2
L
R
Main
1
2
Sub
3
4
L/R
1/2
3/4
L Insert
R Insert
To Main Mix
Mute
Talkback
Level
Main Out
48V
Mono Channels
1-16 (2404)
1-24 (3204)
Mic
+
-
Mic: 0 ~ +60dB
Line: -15 ~ +45dB
Stereo Channels
21/22 & 23/24 (2404)
29/30 & 31/32 (3204)
4-Band EQ
Level
Pan
Assign
L/R
1/2
3/4
Mute
Aux 5
PFL Solo
RUDE
SOLO
LED
Meter
Select
To Aux 1
Solo
Solo
LO MID
80 100~8K 12K
HI
Line
Gain
Aux 1 Level
Preset select
FX
Preset
Display
Global 48v
Switch/LED
To Aux 2
Aux 6
Aux 3
Aux 4
Aux 5
Aux 6
Aux 1
Aux 2
HPF In
bypass
Solo Logic
Solo
USBOut
FX 1 Bypass
Logic
In
FX 1
Out L
Out R
MID
Phantom Power
(To All Mics)
Phantom Power
R
L
L
R
Int FX 1 Out L
FX 1
Line
LO MIDMID
80 4002.5K
12K
HI
LO MIDMID
80 4002.5K
12K
HI
Int FX 1 Out R
(FX2 on 2
nd
st ch.)
Tap
Solo
USB
In
FX Mu te
Active
L
R
Tape Out
Tape Input
L
R
2 track Input
Level
Main
level
+
-
+
-
+
-
+
-
Aux 3 (pre/post)
Aux 4 (pre/post)
Aux 1
Aux 2
post
pre
Aux 3
Aux 4
To Aux 3
To Aux 4
L-R
Aux1-4
Aux 3
Aux 4
USB
Tape
Solo
Phones
Level
Solo
Level
AFL solo R
AFL solo L
AFL solo R
Solo (2&4)
Solo (1&3)
Solo
AFL Solo
Insert
Insert
Aux1
Aux2
Main
Mono Out
Mono level
-20dB pad
-20 Sig (flicker)
solo (on)
OL (flicker)
mute (on)
-20 Sig (flicker)
solo (on)
OL (flicker)
mute (on)
FX 1 master level
HPF
100Hz
Mono Channels
17-20(2404)
25-28(3204)
Mic
+
-
Mic: 0 ~ +60dB
Line: -15 ~ +45dB
Line
Gain
HPF In
bypass
Phantom Power
HPF
100Hz
Comp
Comp
L
R
AFL
PFL
Solo mode
Mono Insert
Aux 1 sum
Aux 5
Aux 6
Aux 5 (post)
Aux 6 (post)
to USB 1-2
FX1
FX2
FX2
FX1
USB
(Second stereo
channel only)
Aux 1 Out
(Aux 2-6 identical)
Sig/OL
L
R
(To first stereo channel)
post
pre
Gain
-20 ~ +20dB
Sub 1
Sub 4
Sub 3
Aux 6
to USB 3-4
Aux 5
Sub 2
Mono
Aux 5-6
Sub 3-4
Main L-R
Sub 1-2
background
34
VLZ4 4•Bus
Track Sheet - Mono Channels
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
background
35
Owner’s Manual
Track Sheet - Comp & Stereo Channels and Master Section
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
PAN
L R
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
MID
200 2k
800
100 8k
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
FREQ
1
MUTE
PAN
L R
2
MUTE
PAN
L R
3
MUTE
PAN
L R
4
MUTE
PAN
L R
5
MUTE
PAN
L R
6
MUTE
PAN
L R
7
MUTE
PAN
L R
8
MUTE
PAN
L R
9
MUTE
PAN
L R
10
MUTE
PAN
L R
11
MUTE
PAN
L R
12
MUTE
PAN
L R
13
MUTE
PAN
L R
14
MUTE
PAN
L R
15
MUTE
PAN
L R
16
MUTE
PAD
-20dB
1
LOW CUT
100 Hz
GAIN
PAD
-20dB
2
LOW CUT
100 Hz
GAIN
PAD
-20dB
3
LOW CUT
100 Hz
GAIN
PAD
-20dB
4
LOW CUT
100 Hz
GAIN
PAD
-20dB
5
LOW CUT
100 Hz
GAIN
PAD
-20dB
6
LOW CUT
100 Hz
GAIN
PAD
-20dB
7
LOW CUT
100 Hz
GAIN
PAD
-20dB
8
LOW CUT
100 Hz
GAIN
PAD
-20dB
9
LOW CUT
100 Hz
GAIN
PAD
-20dB
10
LOW CUT
100 Hz
GAIN
PAD
-20dB
11
LOW CUT
100 Hz
GAIN
PAD
-20dB
12
LOW CUT
100 Hz
GAIN
PAD
-20dB
13
LOW CUT
100 Hz
GAIN
PAD
-20dB
14
LOW CUT
100 Hz
GAIN
PAD
-20dB
15
LOW CUT
100 Hz
GAIN
PAD
-20dB
16
LOW CUT
100 Hz
GAIN
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
1 2
SUBGROUPS
PUSH
TO TALK
MAIN
RIGHT
AUX 1-4
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
RIGHT
SOLO
STEREO
LEFT
RIGHT
SOLO
LEFT
1 2 3 4
MAIN MIX
TALKBACK
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LEVEL
PHONES
TO AUX 1
TO AUX 2
SOLO
MONITOR
TAP
DELAY
MUTE
TO AUX 1
TO AUX 2
TAP
DELAY
MUTE
FX MASTERFX MASTER
TO LRTO LR
FX
2
SIG/OL
FX
1
SIG/OL
SOLO
SOLO
1
2
3
4
SOLO
SOLO MODE
SOLO
SOLO
SOLO
SOLO
SOLO
PFL
AFL
AUX
AUX
AUX
AUX
CH 1-2 CH 3-4
AUX 5-6
PWR
RUDE SOLO
48V
USB OUT
SUBS 3-4
20
10
7
4
2
0
2
4
7
10
20
30
LEVEL
SET
SUBS 1-2
MAIN
TO LR
TAPE
USB
2-TRACK RETURN
SUCK
SOLO
12V
0.5A
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
OFF MAX
COMP
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
USB
21
22
23
24
HI
12k
HI
MID
2.5k
LOW
MID
400Hz
HI
MID
2.5k
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
LOW
80Hz
LOW
MID
400Hz
LOW
80Hz
-15 +15
U
HI
12k
2
3
4
5
6
1
+15
U
+15
U
+20
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
-15 +15
U
-15 +15
U
-15 +15
U
-20 +20
U
-20 +20
U
AUX MASTER
LR
STEREO RETURNS
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
EQ EQ EQ
HI
12k
-15 +15
U
-15 +15
U
LOW
80Hz
-15 +15
U
FREQ
MID
200 2k
800
100 8k
PAN
L R
17
MUTE
PAN
L R
18
MUTE
PAN
L R
19
MUTE
PAN
L R
20
MUTE
BAL
L R
21/22
MUTE
ALT 3-4
BAL
L R
0 dB=0 dBu
LEFT
RIGHT
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
1-
2
3-4
L R
OL
-20
30
20
10
10
40
50
5
5
U
60
dB
OO
SOLO
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
FX
AUX 5/6
PRE
PRE
FX1
FX2
PRE
1
2
+15
U
AUX
+15
U
3
4
5
6
+15
U
+15
U
+15
U
+15
U
23/24
MUTE
ALT 3-4
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
30
20
10
10
40
50
5
5
U
60
dB
OO
17
GAIN
18
GAIN
19
GAIN
20
GAIN LINE GAIN LINE GAIN
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
30
-20dB +40dB
U
60U
4020
50%
100%0%
25% 75%
background
36
VLZ4 4•Bus
Dimensions
+6
U
6.0 in
153 mm
1.8 in
46 mm
29.4 in / 748 mm
19.1 in / 486 mm
6.0 in / 153 mm
WEIGHT
31.0 lb
14.1 kg
6.0 in
153 mm
1.8 in
46 mm
38.0 in / 964 mm
19.1 in / 486 mm
6.0 in / 153 mm
WEIGHT
39.0 lb
17.7 kg
background
37
Owner’s Manual
Appendix D: USB
Thebuilt-inUSBinterfaceallowsforsome
powerfulandexiblerouting.Itisa4x2interface
allowingyoutorecorduptofourstreamsfromthe
mixer,ortoinputstereoplaybackfromacomputer
androuteittonearlyanyoutputorpairofoutputs
onthemixer.TousethisfeaturewithaPC,rst
download the PC ASIO driver from www.720trees.com.
IfconnectingtoaMac,themixerwillshowupasa
4x2devicewithnodriverrequired.
TheUSBroutingcapabilitiesareasfollows:
USB input TO the mixer - playback:
(1)Stereochannel23/24(onthe2404VLZ4)and
31/32(onthe3204VLZ4)featuresaUSBbutton,soone
mayroutecomputeroutput(suchasiTunes
®
)downthe
last stereo channel of the board. This stereo signal may
thenbeEQ'd,senttoauxiliaries(i.e.tofeedmonitors,
headphonesoreffects)andisroutabletomainsand/or
subgroupsviathefaderroutingfeaturesthatare
available on all other channels. In short, this signal may
besenttonearlyanydesiredoutputorpairofoutputs.
Additionally,thegainknobatthetopofthischannel
stripadjuststheUSBinputleveltothemixertoachieve
anoptimalsignallevel.
(2)The2-TrackReturnsectionfeaturesa“ip”
switch,soa“Tape”source(connectedviaRCAcables,
suchasaniPod
®
)ortheUSBsignalfromacomputer
(playingWindowsMediaPlayer
®
les,forexample)may
beroutedtothemainbus.Thissectionalsofeaturesa
solobuttonandinputleveladjustmentforfadinghouse
musicupanddownbetweenbands,atahouseof
worship,oranyothereventwherethismaybe
necessary.
USB output FROM the mixer - recording, etc:
(1)Avarietyofdifferentsignalsmayberecorded
viatheUSBoutputsection,dependingonthesetup.In
the'USBOUT'section,theswitchontheleft[51]will
selecteitherGroups1-2orthemainmixtofeedUSB
outputchannels1-2.Thesecondswitch(totheright)
willselecteitherGroups3-4orAux5-6tofeedUSB
outputchannels3-4.
Forexample,withbothUSBouputswitchesinthe
defaultposition(up),true4-trackrecordingmaybe
accomplishedviaroutingtosubgroups1-4.TheUSBtap
pointsforthesubgroupsarepre-fader(alsopre-insert)
andpost-compressor.Thesignalswillshowuponthe
DAWdependentuponhowtheyarepannedonthe
channels.
Inotherwords,ifsubgroups1and2areusedtosub-
mixdrumsandthosedrumshaveastereoimage
(e.g.overheadsandtomspanaccordingtodesire),this
stereoimageisretainedintheDAWinputs(assuming
subgroup1issetto“L”andsubgroup2issetto“R”).
Anyadjustmentsmadetothesubgroupdrumlevels
duringtheshowonlypertaintotheliveshowitself;
recordinglevelsarenotadjustedintheDAWunlessthey
areadjustedonthechannels.However,compression
settingsmadeonthemixerwillapplytotherecording.
Likewise,itispossibletorecordthemainmixtotake
homeacopyoftheliveshow.Theselevelsarealso
pre-mainfader.Therefore,levelsmaybemixedupor
downintheDAWlaterdependingontheneedsofthe
recordingversustheliveshow.Theendresultisthat
fade-insand/orfade-outsmadeduringtheshowdonot
affect recorded levels.
Andnally,itispossibletoroutetheaux5-6(again,
pre-fader)mixersignalsintoaDAWorplug-inhost.
Fromthere,re-routetheoutputoftheDAW(orplug-in
host)backintothemixer.Voilà...apowerfuloutboard
effectsunit!
Successhereispartiallydependentuponthe
computer'sspeed.Itneedstobefastenough
torunatlowbuffersizessothatthereisno
noticeablelatencybetweentheinputsignaland,say,
thereverbreturn.Thiskindofexibleroutingallows
foravarietyofchoices:runningaux5-6aseffectssends
tooutboardgear,internaleffectssends(nativetothe
board),DAWplug-ins(viaUSB)orasmonitormix
feeds...atrulypowerfulfeature!Besuretoreviewthe
softwarerequirementsonwww.720trees.comtoconrm
thatthelatestdevicedriversarecurrentlyinuse.
background
38
VLZ4 4•Bus
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 char-
acterized 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
with a short pre-delay to simulate the sound of a small,
wood paneled room.
Useful for adding a tight and controlled
ambient effect to vocals and acoustic instruments.
04 Bright Room
This room has a bright tone with lots of scattered reflec-
tions to simulate harder, more reflective surfaces.
Useful on vocals that require a brighter reverb to
cut through the mix, or for giving acoustic instru-
ments a livelier vibe.
05 Warm Lounge
This preset features a medium sized room sound, with
just enough enhancement of the lower mids to produce a
warm tone.
Useful for vocals on songs that require a larger,
more “wet” sound, or for giving dimension to
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, high-
energy 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 espe-
cially 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-
fusion and long pre-delays and reflections that would be
found in a very large, stone walled house of worship.
Gives amazing depth to choirs, wind instruments,
organs, and soft acoustic guitars.
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.
Most often used to fatten snare drums and toms
without clutter.
13 Chorus
This preset provides a soft, ethereal sweeping effect that
is useful for thickening and for making a particular sound
pop out of the mix.
Perfect for enhancement of electric and acoustic
guitar and bass, or to add a dramatic effect to
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 spacious-
ness 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
original signal, with the added warmth that vintage tape-
based echo units provided.
Often used on vocals for a 1950’s era feel, or on
guitars for a surf-type tone. Often used by people
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)
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
the echoes of the 3-repeat delay effect.
Delay times can easily be customized to suit the moment
by using the Tap feature.
Perfect for thickening vocals while adding dimen-
sions, it can also be used as a spacey effect on
electric guitars.
Forpresets17to24,thedelaycanbeenteredbytappingthepresetselectorknobs[65]morethanonce.
background
39
Owner’s Manual
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.
background
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

Specifications

Mackie 3204-VLZ4 Questions and Answers

Find answers or ask new question.
See other models: PPM1008 MK-BIG-KNOB-S+ MK-HR824MK2 MK-XR824 CR4-XBT
Questions and Answers