12-Channel Compact Mixer OWNER’S MANUAL · 12-channel compact mixer power on phantom on caution :...
Transcript of 12-Channel Compact Mixer OWNER’S MANUAL · 12-channel compact mixer power on phantom on caution :...
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1202VLZ4
O W N E R ’ S M A N U A L
12-Channel Compact Mixer
POWER ON PHANTOM ON
CAUTION: TO REDUCE THE RISK OF FIREREPLACE WITH CORRECT TYPE FUSE. REMOVEPOWER CORD BEFORE CHANGING VOLTAGE.
100VAC 120VAC 240VAC
MIC+4 4 34 / R 3 / L
CHANNEL INSERTBAL / UNBAL
R L
CONTROLROOM
BAL / UNBAL
ALTOUT
2 1PRE-FADER / PRE EQ TIP SEND / RING RETURN
100-120V: 500mA/250 V SLO-BLO220-240V: 250mA/250 V SLO-BLO
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
MAINOUT LEVEL
MAINRIGHT
BALANCED
MAINLEFT
BALANCED
REVISIONSERIAL NUMBERWARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICSHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN ORMOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLEPARTS 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.
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4 Important Safety Instructions1. 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 CARTWARNING
CAUTION AVISRISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons.Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.
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:
• Reorientorrelocatethereceivingantenna.• Increasetheseparationbetweentheequipmentandthe
receiver.• Connecttheequipmentintoanoutletonacircuitdifferentfrom
that to which the receiver is connected.• Consultthedealeroranexperiencedradio/TVtechnicianfor
help. CAUTION: Changes or modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user's authority to operate the equipment under FCC rules.
21. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.
22. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here:
Duration, per day in hours
Sound Level dBA, Slow Response
Typical Example
8 90 Duo in small club6 924 95 Subway Train3 972 100 Veryloudclassicalmusic1.5 1021 105 Matt screaming at Troy about
deadlines0.5 1100.25 or less 115 Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
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Part No. SW0970 Rev. A 06/13©2013 LOUD Technologies Inc. All Rights Reserved.
ContentsCHANNEL STRIP DESCRIPTION ............................... 13
“U” LIKE UNITY GAIN ............................. 1323. LEVEL .................................................... 1324. PRE-FADER SOLO ................................... 1325. MUTE/ALT 3–4 ...................................... 1326. PAN....................................................... 14 CONSTANT LOUDNESS ! ! ! ...................... 14 3-BAND EQ ............................................ 1427. LOW EQ ................................................. 1428. MID EQ .................................................. 1429. HI EQ ..................................................... 15 MODERATION DURING EQ ...................... 1530. AUX 2 SEND .......................................... 1531. AUX 1 SEND .......................................... 15
OUTPUT SECTION .................................................. 1632. MAIN MIX ............................................. 1633. CONTROL ROOM SOURCE MATRIX .......... 1634. CONTROL ROOM/SUBMIX ..................... 16 A WORD ABOUT PRE-FADER SOLO (PFL) 1735. RUDE SOLO LIGHT .................................. 1736. ASSIGN TO MAIN MIX ............................ 1737. METERS – MANY DISPLAYS IN ONE! ....... 1738. PRE OR POST (AUX 1) ........................... 1839. AUX 1 MASTER ...................................... 1840. STEREO RETURNS ................................... 1841. RETURN TO AUX 1 ................................. 19 JACK NORMALLING ................................ 19
APPENDIX A: SERVICE INFORMATION .................... 20APPENDIX B: CONNECTIONS.................................. 20APPENDIX C: TECHNICAL INFORMATION ................ 24 SPECIFICATIONS ............................................. 24 BLOCK DIAGRAM ............................................ 25 TRACK SHEET.................................................. 261202VLZ4 LIMITED WARRANTY ............................ 27
IMPORTANT SAFETY INSTRUCTIONS ........................ 2CONTENTS .............................................................. 3FEATURES ............................................................... 4INTRODUCTION ...................................................... 4HOW TO USE THIS MANUAL .................................... 4GETTING STARTED ................................................... 5HOOKUP DIAGRAMS............................................... 6PATCHBAY DESCRIPTION ......................................... 8
1. MIC INS (CHANNELS 1–4) ........................ 82. LINE INS (CHANNELS 1–4) ........................ 83. LOW CUT (CHANNELS 1–4) ....................... 94. GAIN (CHANNELS 1–4) ............................ 95. STEREO LINE INS ...................................... 96. IMAGINARY CONTROL ............................ 9 EFFECTS: SERIAL OR PARALLEL? ................ 97. STEREO RETURNS ................................... 108. AUX SEND 1&2 ...................................... 109. TAPE IN ................................................. 1010. TAPE OUT .............................................. 1011. 1/4" MAIN OUTS ................................... 1012. PHONES ................................................ 1113. XLR MAIN OUTS ................................... 1114. XLR MAIN OUT LEVEL SWITCH ................ 1115. CONTROL ROOM OUTS ........................... 1116. ALT 3–4 OUTS ........................................ 1117. CHANNEL INSERT (CHANNELS 1–4 ) ........ 1118. POWER CONNECTION ............................. 1219. FUSE ...................................................... 1220. VOLTAGE SELECTOR ................................ 1221. POWER SWITCH ..................................... 1222. PHANTOM SWITCH ................................ 12
Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, make dad proud, etc.) Purchased at: Date of purchase:
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4 Features • 12-channelmixerfeaturingoursignature
high-headroom,low-noisedesign
• 4boutique-qualityOnyxmicpreamps •Ultra-wide60dBgainrange •128.5dBdynamicrange •+22dBulineinputhandling •Extendedfrequencyresponse •Distortionunder0.0007%(20Hz-50kHz)
• ImprovedRFrejection,perfectforbroadcastapplications
• Phantompowerforcondensermics
• 12high-headroomlineinputs
• 3-bandEQ(80Hz,2.5kHz,12kHz)
• 18dB/oct75Hzlow-cutfilteronmicinputchannels
• Auxsend,level,panandPFLsolooneach channel
• StereoreturnforconnectingFXprocessor orotherstereosource
• ALT3/4stereobusforaddedroutingflexibility
• Controlroom/phonessourcematrix
• High-resolution12-segmentstereometers
• Sealedrotarycontrolresistdustandgrime
• “Built-Like-A-Tank”ruggedsteelchassiswithpowder-coatfinish
• High-visibility,high-contrastcontrolsdeliverconvenient“at-a-glance”visualfeedback
• Rack-mountabledesignusinganoptionalrackearkit
• Multi-voltagepowersupplyforworldwideuse
IntroductionThe12-channel1202VLZ4deliverstheoutstanding
qualityofourflagshipOnyxpreampsinacompactmixerdesignwiththehigh-headroom/low-noiseperformanceyourprofessionalapplicationdemands.
Fromeveryinputtoeveryoutput,youcancountontheindustry-provenperformanceyouexpectfromaVLZmixer.Plus,itistruly“Built-Like-A-Tank”witharidiculouslyruggedsolid-steelchasisplushigh-contrastcontrolsforultimatetactilecontrol.
Andwithfeatureslikeadedicatedcontrolroom section,the1202VLZ4offersatruestepupinflexibilityandperformancethat'sidealforyourprofessional application.
How To Use This Manual
Aftertheintroduction,agettingstartedguidewillhelpyougetthingssetupfast.Thesearefollowedbyhookupdiagramswhichshowsometypicalsetups.
Nextisadetailedtouroftheentiremixer. Thedescriptionsaredividedintosections,just asyourmixerisorganizedintodistinctzones:
• Patchbay
• ChannelStrip
• OutputSection
Throughoutthesesectionsyou’llfindillustrationswitheachfeaturenumberedanddescribedinnearbyparagraphs.
Thisiconmarksinformationthatiscriticallyimportantoruniquetothemixer.Foryourowngood,readthemandrememberthem.
Thisiconwillleadyoutosomeexplanations offeaturesandpracticaltips.Theyusuallyhavesomevaluablenuggetsofinformation.
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).
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Getting StartedWerealizethatyoumustbereallykeentotryout
themixer.Pleasereadthesafetyinstructionsonpage2,thenhavealookthroughsomeofthefeaturesanddetailsinthismanual.
Setup
Usethemixerinanicecleananddryenvironment,freefromdryerlintanddustbunnies.
Zero the controls
1. Fullyturndownalltheknobstominimum, exceptforthechannelEQandpancontrols,whichshouldbecentered.
2. Makesureallbuttonsareintheoutposition.
Connections
1. MakesuretheACpowerswitchisoffbeforemakinganyconnections.
WARNING:BeforepluggingtheACpowercordintothemixer,makesuretheVOLTAGESELECTORswitchissettothesamevoltageasthelocalACmainssupply(seepage12).
2. PushthelinecordsecurelyintotheIECconnectorontherearpanel,andplugitintoa3-prongACoutlet.ThemixermayacceptanyACvoltagerangingfrom100VACto240VAC.
3. PlugabalancedmicrophoneintooneofthemicXLR(3-pin)connectors.Orconnectany line-levelsignal(keyboard,orguitarpreamp)toalineinputjackusingaTSoraTRS 1/4"plug.
4. Ifyourmicrophonerequiresphantompower,turnonthe48Vphantompowerbutton.
5. Allmonochannelshaveinsertjacksthatcanbeusedtoconnectanexternaleffectsordynamicsprocessorintothesignalchain.
6. Connectthemainoutputsofthemixer(eitherXLRorTRS1/4")tothelinelevelinputsofyouramplifier(withspeakersalreadyattached)ortothelinelevelinputsofpoweredspeakers.
Set the levels
It’snotevennecessarytohearwhatyou’redoingtosetoptimallevels.Butifyou’dliketo:Plugheadphonesintothephonesoutputjack,thenturnupthephonesknobjustalittle.
1. Turnonthemixerbypressingthetopedgeofthepowerswitch.
2. Foronechannel,pressthesoloswitchin,andtherudesololightwillturnon.
3. Playsomethingintothatinputatreal-worldlevels.
4. Adjustthatchannel'sgaincontroluntiltherightmainmeterstaysaroundthe0dBLED(marked“levelset”)andnevergoeshigherthan“+7.”
5. Disengagethechannel'ssoloswitch.
6. Repeatsteps2to5fortheremainingchannels.
7. Turnupthechannellevelknobtothe“U”mark.
8. Slowlyturnupthemainmixknobuntilyouhearthesignalsintheheadphones.
9. Ifneeded,applysomechannelEQwisely.
10.Adjustthechannellevelstogetthebestmix.Keepthegaincontrolsandlevelsfullydownonunusedchannels.
11.Duringtheperformance,ifyounoticeachannelOLLEDturningonduringpeaks,carefullyturndownthatchannel'sgaincontroluntilOLdoesnotturnon.
Things to Remember
• Neverlistentoloudmusicforprolonged periods.PleaseseetheSafetyInstructionsonpage2forinformationonhearingprotection.
• Alwaysturndownthephoneslevelwhenmakingconnections,pressingsolo,ordoinganythingthatmaycauseloudnessinthe headphones.Thiswillhelpprotectyourhearing.
• Alwaysturndownthemainmixleveland controlroom/submixlevelswhenmaking connections tothemixer.Betteryet,turnoffthepower.
• Whenshuttingdown,turnoffanypoweramplifiersorpoweredspeakersfirst.Whenpoweringup,turnthemonlast.Thiswill reducethechanceofturn-onorturn-offthumps.
• Savetheshippingbox!
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4Hookup Diagrams
Condensermicrophones
DirectBoxes
MR8mk3studio monitors
Headphones
Headphone amp
Electronic Drum Kit
Stereo Guitar Effects
SynthStereo Compressor
Mono Compressor
Multi Effects Processor
Digital Delay
Laptop
Recording System
This diagram shows microphones connected to the mic inputs of channels 1 and 2, and a vocal compressor connected to the channel 1 insert jack. Bass and electric guitars are attached to channels 3 and 4 via DI boxes with a stereo compressor on the insert. The lead guitar plays through a stereo effects processor plugged into channels 5 and 6. An electronic drum kit is connected to channels 7 and 8, while a synth is connected to the line inputs of channels 9 and 10.
The audio outputs from a laptop computer are connected to the RCA tape inputs. This allows you to playback your recordings made using the DAW of your choice. The Alt 3-4 outputs are used to feed the inputs to your computer's sound card. By pressing a mute/alt 3-4 switch, it is easy to set up a channel to record onto your computer.
A headphone amplifier is connected to the headphones output, and feeds four pairs of headphones while a pair of MR8mk3 powered studio monitors are connected to the control room outputs.
You can use this setup to record overdub style:
1. For the track being recorded, route it to the alt 3-4 output, which feeds the computer input.
2. Monitor just the previously-recorded tracks through the tape input, which will feed the control room/phones.
3. Since only the currently-recorded track is feeding the computer (through alt 3-4), you will hear the previous tracks you are overdubbing to, but they will not be recorded to each new track.
4. The control room/phones is fed by a mixture of alt 3-4 (currently recorded track) and tape in (output of your DAW playing back previously-recorded tracks).
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Condensermicrophones
DirectBoxes
DLM12S subwoofers
Headphones
Electronic Drum Kit
Stereo Guitar Effects
SynthStereo Compressor
Mono Compressor
Multi Effects Processor
Mono Power Amplifier
StereoEQ
Mono EQ
DLM8 Stage Monitors
iPodTMDocking Station
DLM8 loudspeakers
Live Stereo PA System
This diagram shows microphones connected to the mic inputs of channels 1 and 2, and a vocal compressor connected to the channel 1 insert jack. Bass and electric guitars are attached to channels 3 and 4 via DI boxes with a stereo compressor on the insert. The lead guitar plays through a stereo effects processor plugged into channels 5 and 6. An electronic drum kit is connected to channels 7 and 8, while a synth is connected to the line inputs of channels 9 and 10. An iPodTM docking station is connected to the tape RCA inputs, so you can play pre-recorded music during the breaks.
A multi-effects processor is connected to aux send 1, with the aux send set to post-level. Effects are added to the main mix via the stereo return inputs, and adjusted with the stereo return level control.
To use the aux send for stage monitors instead of an effects processor, set the aux to pre-level so the monitor volume level can be adjusted independently from the main loudspeakers. This setup may easily be configured to become a mono PA setup: (A) Stereo sources should feed the left mono side of the channel input only, (B) pan each channel hard left, (C) connect the mono PA system to the left main out.
The main mix output connects to a stereo graphic EQ before connecting to a pair of DLM12S powered subwoofers which are connected to a pair of DLM8 powered loudspeakers to please your audience.
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4 Patchbay Description
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Attheriskofstatingtheobvious,thisiswhereyouplugeverythingin:microphones,line-levelinstrumentsandeffects,headphones,andtheultimatedestinationforyoursound:PAsystem,DAW,etc.
SeeAppendixBforfurtherdetailsanddrawingsoftheconnectorsyoucanusewiththe1202VLZ4.Alsoseethechannelstripdescriptiononpage13fordetailsofthesignalroutingfromtheXLRandlineinputs.
1. Mic Ins (Channels 1–4)ThisisafemaleXLRconnectorthatacceptsa
balancedmicorlinelevelinputfromalmostanytype ofsource.TheseOnyxmicpreampsfeaturehigher fidelityandheadroomrivalinganystandalonemic preamponthemarkettoday.Thesecircuitsareexcellentatrejectinghumandnoise.
TheXLRinputsarewiredasfollows: Pin1=Shieldorground Pin2=Positive(+orhot) Pin3=Negative(–orcold)
Professionalribbon,dynamic,andcondensermicsallsoundexcellentthroughtheseinputs.Themic/lineinputswillhandleanykindoflevelyoucantossatthem,withoutoverloading.
Microphone-levelsignalsarepassedthroughthemixer'ssplendidmicrophonepreamplifierstobecomeline-levelsignals.
Noteveryinstrumentismadetoconnectdirectly toamixer.GuitarscommonlyneedaDirectInjection(DI)boxtoconnecttothemixer'smicinputs.Theseboxesconvertunbalancedline-levelsignalsfromyourguitar,intobalancedmic-leveloutputs,andprovidesignalandimpedancematching.Theyalsoletyousendyourgiftedguitarrenditionsoverlongcablesoraudiosnakes,withminimuminterferenceandhigh-frequencysignalloss.AskyourdealerorguitarmakerabouttheirrecommendationsforagoodDIbox.
Phantom PowerMostmodernprofessionalcondensermicsare
equippedforphantompower,whichletsthemixersendlow-currentDCvoltagetothemic’selectronicsthroughthesamewiresthatcarryaudio.(Semi-procondensermicsoftenhavebatteriestoaccomplishthesamething.)“Phantom”owesitsnametoanabilitytobe“unseen”bydynamicmics(ShureSM57/SM58,forinstance),whichdon’tneedexternalpowerandaren’taffectedbyitanyway.
The1202VLZ4’sphantompowerisgloballycontrolledbythephantom[22]switchontherearpanel.(Thismeansthephantompowerforchannels1-4isturnedonandofftogether.)
Neverplugsingle-ended(unbalanced)microphonesorinstrumentsintothemic[1]inputjacksifthephantompowerison.
Donotpluginstrumentoutputsintothemicinputjackswithphantompoweron,unlessyouknowforcertainitissafetodoso.
2. Line Ins (Channels 1–4)Thesefourline-inputssharecircuitry(butnot
phantompower)withthemicpreamps,andcanbedrivenbybalancedorunbalancedsourcesatalmost anylevel.
Toconnectbalancedlinestotheseinputs,usea1⁄4"Tip-Ring-Sleeve(TRS)plug,wiredasfollows: Tip=Positive(+orhot) Ring=Negative(–orcold) Sleeve=Shieldorground
Toconnectunbalancedlinestotheseinputs,usea1⁄4"mono(TS)phoneplug,wiredasfollows: Tip=Positive(+orhot) Sleeve=Shieldorground
Thelineininputs1–4areagoodplacetoconnectolderinstrumentsthatneedmoregain.Youcancorrectweaklevelsbyadjustingthecorrespondingchannel’sgain control.
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5. Stereo Line Ins (Channels 5–6, 7–8, 9–10 And 11–12)
Thesefullybalancedinputsaredesignedforstereo ormono,balancedorunbalancedsignals,from–10dBVto+4dBu.Theycanbeusedwithjustaboutany professionalorsemi-proinstrument,effectorCDplayer.
Inthestereoaudioworld,anodd-numbered channelusuallyreceivesthe“leftsignal.”Forexample,youwouldfeedthe1202VLZ4’slineinputs5-6astereosignalbyinsertingthedevice’sleftoutputpluginto thechannel5jack,anditsrightoutputplugintothechannel6jack.
Whenconnectingamonodevice(justonecord),alwaysusetheleft(mono)input(jacks5,7,9or11)andplugnothingintotherightinput(jacks6,8,10or12)—thiswaythesignalwillappearonbothsides.Thistrickiscalled“jacknormalling.”
6. Imaginary Control Thiscontrolispurelyafigmentofourimagination.It
willcomeinhandyafterlonghoursofmixing,whenyoureallywouldlikeanicecupoftea,avacationinHawaii,oratriptotheouterreachesoftheSolarSystem.Thisisthecontrolforyou.Bethankfulyouboughta1202VLZ4.Weloveyou,man!
Effects: Serial Or Parallel?Thenexttwosectionstosstheterms“serial”and
“parallel”aroundlikehackysacks.Here’swhatwemeanbythem:
“Serial”meansthattheentiresignalisroutedthroughtheeffectsdevice.Examples:compressor/limiters,graphicequalizers.Line-levelsourcescanbepatchedthroughaserialeffectsdevicebeforeorafterthemixer,orpreferablythroughtheinsertjackslocatedontherearpanel(channelinsert[17]send/return).
“Parallel”meansthataportionofthesignalinthemixeristappedofftothedevice(auxsend),processedandreturnedtothemixer(stereoreturn)tobemixedwiththeoriginal“dry”signal.Thisway,multiple channelscanallmakeuseofthesameeffectsdevice.Examples:reverb,digitaldelay.
Dry Signal ProcessedSignal
InsertSend
InsertReturn
Dry Signal(s) Dry Signal(s)
AuxSend
AuxReturn
Wet Signal
Channel PathMix
Stage
OutputSection
ProcessedSignal
Signal Processor(e.g., Compressor)
Signal Processor(e.g., Reverb)
Dry Signal ProcessedSignal
InsertSend
InsertReturn
Dry Signal(s) Dry Signal(s)
AuxSend
AuxReturn
Wet Signal
Channel PathMix
Stage
OutputSection
ProcessedSignal
Signal Processor(e.g., Compressor)
Signal Processor(e.g., Reverb)
3. Low Cut (Channels 1–4)Eachlowcutswitch,oftenreferredtoasahighpass
filter(alldependsonhowyoulookatit),cutsbass frequenciesbelow75Hzatarateof18dBperoctave.
Werecommendthatyouuselow-cutonevery microphoneapplicationexceptkickdrum,bassguitar,orbassysynthpatches.Theseaside,thereisn’tmuchdowntherethatyouwanttohear,andfilteringitoutmakesthelowstuffyoudowantmuchmorecrispandtasty.Notonlythat,butlow-cutcanhelpreducethe possibilityoffeedbackinlivesituations,andithelps toconserveamplifierpower.
Anotherwaytoconsiderlow-cut’sfunction isthatitactuallyaddsflexibilityduringliveperformances.Withtheadditionoflow-cut,
youcansafelyuselowequalizationonvocals. Manytimes,bassshelvingEQcanreallybenefit voices.Troubleis,addinglowEQalsoboostsstagerumble,michandlingclunksandbreathpops. Applyinglow-cutremovesallthoseproblems,so youcanaddlowEQwithoutblowingyoursubwoofers.
Here’swhatthecombinationoflowEQandlow-cutlookslikeintermsoffrequencycurves:
4. Gain (Channels 1–4) Ifyouhaven’talready,pleasereadthelevel-setting
procedureonpage5.
Gainadjuststheinputsensitivityofthemicandlineinputsconnectedtochannels1through4.Thisallowssignalsfromtheoutsideworldtobeadjustedtooptimalinternaloperatinglevels.
IfthesignaloriginatesthroughtheXLRjack,therewillbe0dBofgainwiththeknobfullydown,rampingto60dBofgainfullyup.
Throughthe1⁄4"input,thereis20dBofattenuationfullydownand40dBofgainfullyup,witha“U”(unitygain)markat10:00.This20dBofattenuationcanbeveryhandywhenyouareinsertingaveryhotsignal,orwhenyouwanttoaddalotofEQgain,orboth.Withoutthis“virtualpad,”thisscenariomightleadtochannelclipping.
Low Cut with Low EQ20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
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7. Stereo ReturnsThisiswheretoconnecttheoutputsofparallel
effectsdevices(orextraaudiosources).These balancedinputsaresimilartothestereolinein[2] inputs(withoutEQ,auxsends,pan,mute,andsolo).Thecircuitswillhandlestereoormono,balancedorunbalancedsignals,eitherinstrumentlevel,–10dBV or+4dBu.Theycanbeusedwithjustaboutanypro orsemiproeffectsdeviceonthemarket.Thesignalscomingintotheseinputscanbeadjustedusingthestereoreturn[40]knobsbeforepassingontothe mainmixbus,seepage19.
Onedevice:ifyouhavejustoneparalleleffectsdevice(twocords),usestereoreturn1andleavestereoreturn2unplugged.thatway,theunusedstereoreturn2levelcontrolcanbeusedtofeedstereoreturn1toyourstagemonitors,viathereturntoaux1[41]switch.
Monodevice:ifyouhaveaneffectsdevicewithamonooutput(onecord),plugthatintostereoreturn1,l/mono,andleavestereoreturn1,right,unplugged. Thiswaythesignalwillbesenttobothsides,magicallyappearinginthecenterasamonosignal.Thiswon’tworkwithstereoreturn2—you’llneedaY-cord.
8. Aux Send 1&2Theauxsend[31]knobstapaportionofeach
channel'ssignaltoprovideanoutputheretofeed externalparalleleffectsprocessorsorstagemonitoring.Seetheauxsenddetailsonpage15.
These1⁄4"jacksarebalancedoutputscapable ofdelivering22dBuintoa600ohmbalancedor unbalancedload.
9. Tape InTheseRCAjacksaredesignedtoworkwithsemipro
aswellasprorecorders.Tocompensatefortypicallylowlevels,signalscominginherewillbeautomaticallyboostedby6dB.
Connectyourtaperecorder’soutputshere,usingstandardhi-fi(RCA)cables.
Usethesejacksforconvenienttapeplaybackofyourmixes.You’llbeabletoreviewamixandthenrewindandtryanotherpasswithoutrepatchingordisturbingthemixerlevels.Youcanalsousethesejackswith aportableCDplayertofeedmusictoaPAsystembetweensets.
WARNING:Engagingboththetapeandassigntomainmixbuttonsinthecontrolroomsource[33]matrixcancreateafeedback
pathbetweentapeinputandtapeoutput.Makesureyourtapedeckisnotinrecord,record-pause,orinputmonitormode,whenyouengagetheseswitches,ormakesurethecontrolroom/submix[34]levelknob isfullycounterclockwise(off).
10. Tape OutTheseunbalancedRCAconnectionstapthemain
mixoutputtomakesimultaneousrecordingandPAworkmoreconvenient.Connectthesetoyourrecorder’sinputs.(Seealsomainmix[32]onpage16.)
Monoout:Ifyouwanttofeedamonosignaltoyourtapedeckorotherdevice,simplyuseanRCAY-cordtocombinetheseoutputs.Donotattemptthiswithanyotheroutputsonthe1202VLZ4.
11. 1/4" Main OutsThe1/4"TRSoutputconnectorsprovidebalancedor
unbalancedline-levelsignals.Connectthesetothenextdeviceinthesignalchainlikeanexternalprocessor(compressor/limiter),ordirectlytotheinputsofthemainamplifier.ThesearethesamesignalthatappearsattheXLRmainoutputs[13],but6dBlowerwhentheXLRisusedbalanced.
Toconnectbalancedlinestotheseinputs,usea1⁄4"Tip-Ring-Sleeve(TRS)plug,wiredasfollows: Tip=Positive(+orhot) Ring=Negative(–orcold) Sleeve=Shieldorground
Toconnectunbalancedlinestotheseinputs,usea1⁄4"mono(TS)phoneplug,wiredasfollows: Tip=Positive(+orhot) Sleeve=Shieldorground
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Thesebalancedoutputsarecapableofdelivering22dBuintoa600ohmbalancedorunbalancedload.
16. Alt 3–4 OutsThese1⁄4"outputsarethesumofanychannelsthat
havethemute/alt3-4[25]switchpressedin(seepage13forthetenderdetails).
Thesebalancedoutputsarecapableofdelivering 22dBuintoabalancedorunbalancedload.
17. Channel Insert (Channels 1–4)Theserear-paneljacksarewhereyouconnectserial
effectssuchascompressors,equalizers,de-essers, orfilters.Sincemostpeopledon’thavemorethana fewofthesegadgets,we’veincludedinsertsforjust thefirstfourchannels.Ifyouwanttousethiskindofprocessingonchannels5through12,simplypatchthroughtheprocessorbeforeyoupluginto the1202VLZ4.
Thechannelinsertpointsareafterthegain[4] andlowcut[3]controls,butbeforethechannel’s EQ[27]andlevel[23]controls.Thesend(tip)islow-impedance(120ohms),capableofdrivinganyline-leveldevice.Thereturn(ring)ishigh-impedance(over2.5kohms)andcanbedrivenbyalmostanydevice.
SeeAppendixBfordetailsanddrawingsaboutinsertcables,andadiagramshowingthreewaystousethejacks.
Besidesbeingusedforinsertingexternaldevices,thesejackscanalsobeusedaschanneldirectoutputs;post-gain,post-lowcut,andpreEQ.Infact,ourOnyxmicpreampshavebecomesofamous,thatpeoplebuythesemixersjusttohavefouroftheseintheirarsenal.
tip
This plug connects to one of the mixer’s Channel Insert jacks. ring
tipring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
12. Headphones OutThisstereojackwilldriveanystandardheadphone
toveryloudlevels.Tolearnhowsignalsarerouted totheseoutputs,seesourcematrix[33]onpage16. Ifyou’rewiringyourowncableforthephonesoutput,followstandardconventions:
Tip=Leftchannel Ring = Right channel Sleeve=Commonground
WARNING:Whenwesaytheheadphone ampisloud,we’renotkidding.Itcancausepermanenteardamage.Evenintermediate
levelsmaybepainfullyloudwithsomeearphones. BE CAREFUL! Alwaysturnthectlroom/submix[34]knoballthewaydownbeforeconnectingheadphones.Keepitdownuntilyou’veputthephoneson.Thenturnitupslowly.Why?“Engineerswhofrytheirearsfindthemselveswithshortcareers.”
13. XLR Main Outs Usethesetosendthemainmixoutintotheline-level
balancedinputsofyouramplifierorpoweredspeakers.
Theselow-impedanceoutputsarefullybalancedandcapableofdriving+4dBulineswithupto28dBofheadroom.Thisoutputis6dBhotterthanotheroutputs.
14. XLR Main Out Level SwitchEngagingthisswitchreducesthelevelofthe
balancedXLRmainoutputsby40dB,soyoucan feedthemicrophoneinputof,say,anothermixer. (YoucansafelyconnecttheXLRoutputsintoan inputthatprovides48Vphantompower.)
15. Control Room OutsThese1⁄4"outputsareprovidedsoyoucanlisten
tosomethingotherthanthemainmix.Thesource isselectedusingthesourcematrix[33]switches (seepage16).Youcanchoosetolistentothemainmix,thealt3-4stereobus(seemute/alt3-4onpage13), soloedchannels,orthetapeinput.Thevolumeis adjustablewiththecontrolroom/submix[34]knob.
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18. Power ConnectionJustincaseyoulosethecordprovidedwiththe
1202VLZ4,itspowerjackacceptsastandard3-prongIECcordlikethosefoundonmostprofessional recorders,musicalinstruments,andcomputers.
WARNING:BeforepluggingtheACpowercordintothe1202VLZ4,makesurethat thevoltageselector[20]slideswitchis
settothesamevoltageasthelocalACmainssupply.
WARNING:Disconnectingtheplug’sgroundpincanbedangerous.Don’tdoit.
19. Fuse
The1202VLZ4isfusedforyour(anditsown) protection.Ifyoususpectablownfuse,disconnect theACmainspowercord,pullthefusedrawerout(locatedjustbelowthecordreceptacle)andreplacethefusewitha500mA(0.5amps)SLOBLO5x20mm,availableatelectronicsstoresoryourdealer.Usea 250mAfuseifthelocalvoltageis220-240VAC.
Iftwofusesblowinarow,somethingisverywrong.Pleasecallourtoll-freenumber1-800-898-3211fromwithintheU.S.(orthedistributorinyourcountry)andfindoutwhattodo.
20. Voltage SelectorWARNING:BeforepluggingtheACpowercordintothe1202VLZ4,makesurethatthevoltageselector[20]slideswitchissettothe
samevoltageasthelocalACmainssupply.Onlyslidethevoltageswitchwiththepowercordunplugged.
Useaflatheadedscrewdrivertoslidetheswitch ifneeded.Theswitchallowsyoutousethemixer indifferentcountriesandvoltages,meetinteresting peoplefromothercultures,andentertainthemwithyouruniqueblendofRockabillyFunkadeliaThrashMetal.
21. Power SwitchPressthetopofthisrockerswitchinwardstoturnon
themixer.ThepowerLEDonthetopsurfaceofthemix-erwillglowwithhappiness,oratleastitwillifyouhavethemixerpluggedintoasuitableliveACmainssupply.
Pressthebottomofthisswitchtoputthemixerintostandbymode.Itwillnotfunction,butthecircuitsare stilllive.ToremoveACpower,eitherturnofftheACmainssupply,orunplugthepowercordfromthemixerandtheACmainssupply.
Asageneralguide,youshouldturnthemixeronfirst,beforethepoweramplifierorpoweredspeakers,andturnitofflast.Thiswillreducethepossibilitiesofanyturn-on,orturn-offthumpsinyourspeakers.
22. Phantom SwitchThisglobalrockerswitchcontrolsthephantompower
supplyforcondensermicrophonespluggedintochannelmic[1]inputs(seepage8).
Pressthetopoftheswitchinwardstoengage phantompowertothefourmicinputs.Pressthe bottomoftheswitchtoturnitoff.
Whenturnedon(oroff),thephantompower circuitrytakesafewmomentsforvoltagetoramp up(ordown).Thisisperfectlynormal.Justlikeme. Oh,andmyimaginaryfriendLazlowhohelpsmewriteallthemanuals.SayhellotothenicefolksLazlo.
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Channel Strip Descriptioncheckoutwhataparticularchannelisuptoanytimeduringasession.Youcansoloasmanychannelsat atimeasyoulike.
Soloisalsothekeyplayerinthelevel-setting procedureonpage5.
Soloedchannelsaresenttothesourcemix,whichultimatelyfeedsyourcontrolroom,phonesandmeterdisplay.Wheneversoloisengaged,allsourceselections(mainmix,alt3-4andtape)aredefeated,toallowthesoloedsignaltodojustthat—solo!
WARNING: Pre-fadersolotapsthe channelsignalbeforethelevelknob. Ifyouhaveachannel’slevelknobsetbelow
“U”(unitygain),solowon’tknowthatandwillsend aunitygainsignaltothecontrolroom,phonesandmeterdisplay.Thatmayresultinastartlinglevelboostattheseoutputs.
25. Mute/Alt 3–4Thedual-purposemute/alt3–4busisoursignature.
WhenGregwasdesigningourfirstproduct,hehadtoincludeamuteswitchforeachchannel.Muteswitchesdojustwhattheysoundliketheydo.Theyturnoffthesignalby“routing”itintooblivion.“Gee,whatawaste,”Gregreasoned.“Whynothavethemutebuttonroutethesignalsomewhereelseuseful…likeaseparatestereobus?”Somute/alt3–4reallyservestwofunctions—muting(oftenusedduringamixdownorliveshow),andsignalrouting(formultitrackandlivework)whereitactsasanextrastereobus.
Tousethisasamuteswitch,allyouhavetodois notusethealt3–4[16]outputs.Then,wheneveryoupressthisswitch,youwillassignachanneltothese unusedoutputs,disconnectingitfromthemainmix,andeffectivelymutingthechannel.
Tousethisasanalt3–4switch,allyouhavetodoisconnectthealt3–4outputstowhateverdestinationyoudesire.Herearetwopopularexamples:
Whendoingmultitrackrecording,usethealt3–4outputstofeedyourmultitrack.Withmostdecks,youcan"mult"thealt3–4[16]outputs,usingY-cordsormults,tofeedmultipletracks.So,takealtoutputLandsendittotracks1,3,5and7,andaltoutputRandsendittotracks2,4,6and8.Now,tracksthatareinrecordorinputmodeswillhearthealt3–4signals,andtracksinplaybackorsafemodeswillignorethem.
Whendoinglivesoundormixdown,it’softenhandytocontrolthelevelofseveralchannelswithoneknob.That’scalledsubgrouping.Simplyassignthesechannelstothealt3–4mix,engagealt3–4inthesource[33]matrix,andthesignalswillappearatthecontrolroom
Theeightchannelstripslookalike,andfunction identically.Theonlydifferenceisthatthefourontheleftareforindividualmicsormonoinstrumentsandhavemoregainavailable,whilethenextfourareforeitherstereoormonoline-levelsources.(Eachofthestereochannelstripsisactuallytwocompletecircuits.Thecontrolsarelinkedtogethertopreservestereo.)We’llstartatthebottomandworkourwayup…
“U” Like Unity GainVLZ4mixershavea“U”symbolonalmosteverylevel
control.This“U”standsfor“unitygain,”meaningnochangeinsignallevel.Onceyouhaveadjustedtheinputsignaltoline-level,youcanseteverycontrolat“U”andyoursignalswilltravelthroughthemixeratoptimal levels.What’smore,allthelabelsonourlevelcontrolsaremeasuredindecibels(dB),soyou’llknowwhatyou’redoinglevel-wiseifyouchoosetochangea control’ssettings.
Youwon’thavetocheckit hereandcheckitthere,asyouwouldwithsomeothermixers.Infact,somedon’tevenhaveanyreferencetoactualdBlevels atall!Youweresmart—you'reusinga1202VLZ4.
23. LevelThisadjuststhechannel’s
level…fromoff,tounitygain atthedetent,onupto12dB ofadditionalgain.
Thelevelknobisthe equivalentofachannelfader, sosometimeswelapseandsaythewordfader.
Channels1through4usemonocontrols,andchannels5through12usestereocontrols,andsotheymayfeelslightlydifferent.Notaproblem.
24. Pre-Fader SoloThislovableswitchallows
youtohearsignalsthrough yourheadphonesorcontrol roomwithouthavingtoroutethemtothemainmixoralt3-4mix.Youdon’tevenhavetohavethechannel’slevel[23]knob
turnedup.Folksusesoloinliveworktopreview channelsbeforetheyareletintothemix,ortojust
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4 [15]andphones[12]outputs.Ifyouwantthealt3–4signalstogobackintothemainmix,engagetheassigntomainmix[36]switch,andthecontrolroom/submix[34]levelcontrolbecomestheoneknobtocontrolthelevelsofallthechannelsassignedtoalt3–4.
Anotherwaytodothesamethingisassignthe channelstothealt3–4mix,thenpatchoutofthe alt3–4output[16]backintoanunusedstereochannellineinput[2].Ifthat’syourchoice,don’teverengagethemute/alt3–4switchonthatstereochannel,oryou’llhaveeverydogintheneighborhoodhowlingatyourfeedbackloop.
Anotherbenefitofthealt3–4featureisthatitcanactasa“SIP”(Solo-In-Place):justengageachannel'smute/alt3–4switchandthealt3–4switchinthesourcematrixandyou’llgetthatchannel,allbyitself,inthecontrolroomandphones.
Mute/alt3–4isoneofthosecontrolsthatcan bewildernewcomers,sotakeyourtimeandplay aroundwithit.Onceyou’vegotitdown,you’ll probablythinkofahundredusesforit!
26. PanPanadjuststheamountof
channelsignalsenttotheleftversustherightoutputs.Onmonochannels(ch.1–4or5–12withconnectionstotheLinputonly)thesecontrolsactaspanpots.Onstereochannels(5–12)withstereoconnectionstoLandRinputs,thepanknobworkslikethebalancecontrolonyourhomestereo.
Pandeterminesthefateof themainmixandalt3–4mix.Withthepanknobhardleft, thesignalwillfeedeithermainoutL(bus1)oraltoutputL (bus3),dependingonthe positionofthealt3–4switch.Withtheknobhardright,thesignalfeedsmainoutR(bus2)oraltoutputR(bus4).
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Constant Loudness ! ! !The1202VLZ4’spancontrolsemployadesigncalled
“ConstantLoudness.”Ithasnothingtodowithlivingnexttoanall-nightdisco.Asyouturnthepan[26]knobfromlefttoright(therebycausingthesoundtomovefromthelefttothecentertotheright),thesoundwillappeartoremainatthesamevolume(orloudness).
Ifyouhaveachannelpannedhardleft(orright)andreading0dB,itmustdipdownabout4dBontheleft(orright)whenpannedcenter.Todootherwise(thewayBrandXcompactmixersdo)wouldmakethesoundappearmuchlouderwhenpannedcenter.
3-Band EQThe1202VLZ4has3-bandequalizationatcarefully
selectedpoints—lowshelvingat80Hz,midpeakingat2.5kHz,andhishelvingat12kHz.“Shelving”meansthatthecircuitryboostsorcutsallfrequenciespastthespecifiedfrequency.Forexample,rotatingthelowEQknob15dBtotherightboostsbassstartingat80Hzandcontinuingdowntothelowestnoteyouneverheard.“Peaking”meansthatcertainfrequenciesforma“hill”aroundthecenterfrequency—2.5kHzinthecaseofthemidEQ.
27. Low EQThiscontrolgivesyou
upto15dBboostorcutbelow80Hz.Thecircuitisflat(noboostorcut)atthecenterdetentposition.Thisfrequencyrepresentsthepunchinbassdrums,bassguitar,fatsynthpatches,andsomereallyseriousmalesingers.
Usedinconjunctionwiththelowcut[3]switch,youcanboostthelowEQwithoutinjectingatonofsubsonicdebrisintothemix.
28. Mid EQShortfor“midrange,”
thisknobprovides15dB ofboostorcut,centered at2.5kHz,alsoflatatthecenterdetent.MidrangeEQisoftenthoughtofasthemostdynamic,becausethefrequenciesthatdefineanyparticularsoundarealmostalwaysfoundinthisrange.YoucancreatemanyinterestingandusefulEQchangesbyturningthisknobdownaswellasup.
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Low EQ
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29. Hi EQThiscontrolgivesyouup
to15dBboostorcutabove12kHz,anditisalsoflat at the detent. Use it to addsizzletocymbals, andanoverallsenseoftransparency,oredgetokeyboards,vocals,guitarandbaconfrying.Turnitdownalittletoreducesibilance,ortohidetapehiss.
Moderation During EQWithEQ,youcanalsoscrewthingsuproyally.
We’vedesignedalotofboostandcutintoeach equalizercircuit,becauseweknoweveryonewill occasionallyneedthat.ButifyoumaxtheEQson everychannel,you’llgetmixmush.Equalizesubtly andusetheleftsidesoftheknobs(cut),aswellas theright(boost).Veryfewgold-record-albumengineerseverusemorethanabout3dBofEQ.Ifyouneedmorethanthat,there’susuallyabetterwaytogetit,suchasplacingamicdifferently(orusingadifferentkindofmicentirely).
30. Aux 2 Send 31. Aux 1 Send
Theseknobsallowyoutotapaportionofeach channelsignalouttoanothersourceforparallel effectsprocessingorstagemonitoring.Auxsend levelsarecontrolledbytheseknobsandbythe aux1master[39].
Thesearemorethanjusteffectsandmonitorsends.Theycanbeusedtogenerateseparatemixesfor recordingor“mix-minuses”forbroadcast.Byusing aux1inthepremode,thesemixlevelscanbeobtainedindependentlyofthechannel’slevelcontrol.
Aux1inpostmodeandaux2arepost-lowcut, post-EQandpost-level.Thatis,thesendsobeythe settingsofthesecontrols.Aux1inpremodefollows theEQandlowcutsettingsonly.Panandlevelhave noeffectonthepresend(seediagrambelow).
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High EQ
GAIN INSERTLO CUT EQ
LEVEL PAN MAIN / ALT
AUX 2 KNOB
"POST" SIGNAL
"PRE" SIGNAL
AUX 1 KNOB
"POST" SIGNAL OBEYSMUTE STATUS
INPUT
AUX SEND 1 PRE/POST SWITCH(IN MASTER SECTION)
TO AUX SEND 2 LEVEL
TO AUX SEND 1 LEVEL
Eachauxsendlevelrangesfromoffthroughunity(thecenterdetentposition)onupto15dBofextragain(whenturnedfullyclockwise).Chancesareyou’llneverneedthisextragain,butit’snicetoknowit’sthereifyoudo.
Channel5–12auxknobscontrolthemonosumofthechannel’sstereosignalsforeachauxsend.Forinstance,channel5(L)and6(R)mixtogethertofeedthat channel’sauxsendknobs.
Werecommendgoingintoastereoreverbinmonoandreturninginstereo.Wehavefoundthatonmost“stereo”reverbsthesecondinputjusttiesupanextraauxsendandaddsnothingtothesound.Thereareexceptions,sofeelfreetotryitbothways.Ifyoureffectsdeviceistruestereoallthewaythrough,useaux1tofeeditsleftinputandaux2tofeedtherightinput.
Stillwithus?Goodforyou.Herecomethetrickyparts,theoutputormastersectionwherethemixingisreallydone.Wehaveevenstarteditonanewpage:
“Pre vs. Post”
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33. Control Room Source MatrixTypically,theengineersendsthemainmixtoan
audience(iflive)oramixdowndeck(ifrecording).Butwhatiftheengineerinthecontrolroomneedstohearsomethingotherthanthemainmix?Withthe1202VLZ4,theengineerhasseveralchoicesofwhattolistento.Thisisoneofthosetrickyparts,sobraceyourself.
Viathesesourceswitches,youcanchoosetolisten toanycombinationofmainmix,alt3-4andtape. Bynow,youprobablyknowwhatthemainmixis. Alt3-4isthatadditionalstereomixbus.Tapeisthestereosignalcominginfromthetapeinput[9]jacks.
Selectionsmadeinthesourcematrixdeliverstereosignalstothecontrolroom,phonesandmeterdisplay.Withnoswitchesengaged,therewillbenosignalattheseoutputsandnometerindication.
Theexceptionisthesolofunction.Regardlessofthesourceselection,engagingachannel’ssolo[24]switchwillreplacethatselectionwiththesolosignal,alsosenttothecontrolroom,phonesandrightmeter(theleftmeterbecomesinactive).Thisiswhatmakesthelevel-settingproceduresoeasytodo.
WARNING:Engagingboththetapeand assigntomainmix[36]buttonscancreateafeedbackpathbetweentapeinput[9]and
tapeoutput[10].Makesureyourtapedeckisnotinrecord,record-pause,orinput-monitormodewhenyouengagetheseswitches,ormakesurethecontrolroom/submix[34]levelknobisfullycounterclockwise(off).
Nowyouknowhowtoselectthesignalstosendtotheengineer’scontrolroomorphones.Fromthere,thesesignalsallpassthroughthesamelevelcontrol:
34. Control Room/SubmixThisknobcontrolsthelevelsofboththestereo
controlroom[15]andphones[12]outputs.Thecontrolrangeisfromoffthroughunitygainatthedetent,with10dBofextragain(whenturnedfullyclockwise).
Whenmainmixisyourcontrolroomsourceselection,thosesignalswillnowpassthroughtwolevelcontrolsonthewaytoyourcontrolroomampandphones—themainmix[32]knobandthiscontrolroom/submixknob.Thisway,youcansendanicehealthyleveltothemainoutput(mainmixknobat“U”),andaquietleveltothecontrolroomorphones(controlroom/submixknobwhereveryoulikeit).
Whenalt3-4ortapeisselected,orsolo[24]is engaged,thecontrolroom/submixknobwillbetheonlyonecontrollingtheselevels(channelcontrols notwithstanding).
32. Main MixThisknobcontrolsthelevelsofsignalssenttothe
mainoutputs:XLR[13]and1⁄4"[11]andRCAtapeoutput[10].Allchannelsandstereoreturns[7]thatarenotmutedorturnedfullydownwillwindupinthemainmix.
Fullycounterclockwiseisoff,thecenterdetent isunitygain,andfullyclockwiseprovides12dBof additionalgain.Thisadditionalgainwilltypicallyneverbeneeded,butonceagain,it’snicetoknowit’sthere.ThisistheknobtoturndownattheendofthesongwhenyouwantTheGreatFade-Out.
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Whateveryourselection,youcanalsousethecontrolroom[15]outputsforotherapplications.Itssoundqualityisjustasimpeccableasthemainouts[11and13].Itcanbeusedasadditionalmainmixoutput,whichmaysoundsillysincetherearealreadythree,butthisonehasitsownlevelcontrol.However,shouldyoudosomethinglikethis,besurethatyoudonotengageasoloswitch,asthatwillinterruptyoursourceselection.
A Word About Pre-Fader Solo (PFL) Engagingachannel’ssolo[24]switchwillcause
thisdramaticturnofevents:Anyexistingcontrolroomsourceselectionswillbereplacedbythesolosignal,appearinginthecontrolroom,headphones,andintherightmeter.Theaudiblesololevelsarethencontrolledbythecontrolroom/submix[34]knob.Thesololevelsappearingontherightmeterdisplayarenotcontrolledbyanything—youwouldn’twantthat.Youwanttoseetheactualchannellevelonthemeterdisplayregardlessofhowloudyou’relistening.
“Pre-fader”solomeansthatthechannelsignalis beingtappedbeforethechannel’slevel[23]knob (notreallyafaderinthiscase,butwewereafraid you’dlaughifwecalleditpre-knobsolo).Itdoes, however,obeygain[4],lowcut[3]andEQ[27] settings,makingittheperfecttoolforquickinspectionsofsuspectchannels.Thechannel’span[26]andmute/alt3-4[25]settingshavenoeffectonthesolosignal.
Note:Forstereochannels5-12,thesolosignalis themonosumoftheleft(odd-numbered)andright(even-numbered)signalsforthatchannelstrip.
WARNING:Pre-fadersolo[24]taps thechannelsignalbeforethelevelknob. Ifyouhaveachannel’slevelknobsetbelow
“U”(unitygain),solowon’tknowthat,andwillsend aunitygainsignaltothecontrolroom,phonesandmeterdisplay,thatmayresultinastartlinglevelboostattheseoutputs.
35. Rude Solo LightThisflashingLightEmittingDiodeservestwo
purposes—toremindyouthatatleastonechannel isinsolo,andtoletyouknowthatyou’remixingon a1202VLZ4.Noothercompanyissoconcernedaboutyourlevelofsoloawareness.Ifyouworkonamixer thathasasolofunctionwithnoindicatorlights,and youhappentoforgetyou’reinsolo,youcaneasilybetrickedintothinkingthatsomethingiswrongwithyourmixer.Hencetherudesololight.It’sespeciallyhandy atabout3a.m.whennosoundiscomingoutofyourmonitorsbutyourmultitrackisplayingbacklikemad.
36. Assign To Main MixLet’ssayyou’redoingaliveshow.Intermissionis
nearingandyou’llwanttoplayasoothingCDforthecrowdtopreventthemfromeatingthefurniture. Thenyouthink,“ButIhavetheCDplayerpluggedintothetapeinputs,andthatnevergetstothemainouts!”Oh,butitdoes.Simplyengagethisswitchandyour controlroomsourceselection,aftergoingthrough thecontrolroom/submix[34]knob,willfeedinto themainmix,justasifitwereanotherstereochannel.
Anotherhandyuseforthisswitchistoenablethe alt3-4mixtobecomeasubmixofthemainmix,usingthecontrolroom/submixknobasitslevelcontrol.
Sideeffects:(1)Engagingthisswitchwillalsofeedanysoloedchannelsintothemainmix,whichmaybethelastthingyouwant.(2)Ifyouhavemainmixasyourcontrolroomsourceselectionandthenengage assigntomainmix,themainmixlinestothecontrolroomwillbeinterruptedtopreventfeedback.Thenagain,whywouldanyonewanttoassignthemainmix tothemainmix?
37. Meters – Many Displays In One!The1202VLZ4’speakmeteringsystemismadeup
oftwocolumnsoftwelveLEDs.Deceptivelysimple,consideringthemultitudeofsignalsthatcanbe monitoredbyit.
Ifnothingisselectedinthesourcematrixand nochannelsareinsolo,themeterswilljustsitthereanddonothing.Toputthemtowork,youmustmakeaselectioninthesourcematrix(orengageasoloswitch).
Why?Youwantthemeterdisplaytoreflectwhattheengineerislisteningto,andaswe’vecovered,the engineerislisteningeithertothecontrolroom[15]outputsorthephones[12]outputs.Theonlydifferenceisthatwhilethelisteninglevelsarecontrolledbythecontrolroom/submix[34]knob,themetersreadthesourcemixbeforethatcontrol,givingyoutherealfactsatalltimes,evenifyou’renotlisteningatall.
Thankstothe1202VLZ4’swidedynamicrange, youcangetagoodmixwithpeaksflashinganywherebetween–20and+10dBonthemeters.Most amplifiersclipatabout+10dB,andsomerecordersaren’tsoforgivingeither.Forbestreal-worldresults, trytokeepyourpeaksbetween“0”and“+7”.
Youmayalreadybeanexpertattheworldof“+4”(+4dBu=1.23V)and“–10”(–10dBV=0.32V)operatinglevels.Basically,whatmakesamixeroneortheotheristherelative0dBVU(or0VU)chosenforthemeters.A“+4”mixer,witha+4dBusignalpouringoutthebackwillactuallyread0VUonitsmeters.A“–10”mixer,witha–10dBVsignaltricklingout,willread0VUonitsmeters.Sowhenis0VUactually0dBu?Rightnow!
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4 Attheriskofcreatinganotherstandard,1202VLZ4mixersaddresstheneedofbothcrowdsbycallingthingsastheyare—0dBu(0.775V)attheoutputshowsas 0dBVUonthemeters.Whatcouldbeeasier?Bytheway,themostwonderfulthingaboutstandardsisthattherearesomanytochoosefrom.
Remember,audiometersarejusttoolstohelpassureyouthatyourlevelsare“intheballpark.”Youdon’thavetostareatthem(unlessyouwantto).
A Word About AuxFirstofall,thereisnoparticularalliancebetween
auxsend1(or2)andstereoreturn1(or2).They’rejustnumbers.They’reliketwocompletestrangers.
Sendsareoutputs,returnsareinputs.Thechannelaux[30and31]knobstapthesignaloffthechannelandsendsittotheauxsend[8]outputs.Aux1signalissenttotheaux1master[39]knobbeforegoingtotheauxsend1[8]outputandtheaux2signalgoesdirectlytotheauxsend2[8]output.
38
3941 40
Theseoutputscanbefedtotheinputsofareverborotherdevice.Fromthere,theoutputsofthisexternaldevicearefedbacktothemixer’sstereoreturn[7]jacks.thenthesesignalsaresentthroughthestereoreturn[40]levelcontrols,andfinallydeliveredtothemainmix.
So,theoriginal“dry”signalsgofromthechannelstothemainmixandtheaffected“wet”signalsgofromthestereoreturn[7]tothemainmix,andoncemixedtogether,thedryandwetsignalscombinetocreate aglorioussound.So,armedwiththisknowledge, let’svisittheAuxiliaryWorld:
38. Pre Or Post (Aux 1) Besidesbeingusedtoworkeffectsintoyourmix,aux
sendsserveanothercriticalrole—thatofdeliveringcuemixestostagemonitors,somusicianscanhearwhatthey’redoing.Onthe1202VLZ4,auxsend1canplayeitherrole,dependingonthepositionofthisswitch.
Withthisswitchup(disengaged),auxsend1will tapachannelpre-fader(level)andpre-mute/alt3-4,meaningthatnomatterhowyoumanipulatethosecontrolsastheyfeedthemainmix,theauxsendwillcontinuetobeltoutthatchannel’ssignal.Thisisthepreferredmethodforsettingupstagemonitorfeeds. EQsettingswillaffectallauxsends.
Withtheswitchdown,theauxsend1becomes anordinaryeffectssend—post-fader(level)and post-mute/alt3-4.Thisisamustforeffectssends, sinceyouwantthelevelsofyour“wet”signalsto followthelevelofthe“dry.”
39. Aux 1 MasterThisknobprovidesoveralllevelcontrolofauxsend1,
justbeforeit’sdeliveredtotheauxsend1[8]output.(Auxsend2hasnosuchcontrol.)Thisknobgoesfromoff(turnedfullydown),tounitygainatthecenterdetent,with10dBofextragain(turnedfullyup). Aswithsomeotherlevelcontrols,youmayneverneedtheadditionalgain,butifyoueverdo,you’llbegladyouboughta1202VLZ4.
Thisisusuallytheknobyouturnupwhentheleadsingerglaresatyou,pointsathisstagemonitor,andstickshisthumbupintheair.(Itwouldfollowsuitthatifthesingerstuckhisthumbdown,you’dturntheknobdown…butthatneverhappens.)
40. Stereo ReturnsThesetwocontrolssettheoveralllevelofeffects
receivedfromstereoreturn[7]inputs1and2.Thesecontrolsaredesignedtohandleawiderangeofsignallevels,fromoff,tounitygainatthedetent,with20dBgainfullyclockwise,tocompensateforlow-leveleffects.
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Typically,theseknobscanjustliveatthecenterdetent,andtheeffectsdevice’soutputcontrolshouldbesetatwhatevertheycallunitygain(checktheirmanual).Ifthatturnsouttobetooloudortooquiet,adjusttheeffectsdevice’soutputs,notthemixer. Thatway,themixer’sknobsareeasytorelocate at the center detent.
Signalspassingthroughthesecontrolswillproceeddirectlytomainmix,withoneexception(seeparagraphbelow).Thestereoreturnsdonothavemute/alt3-4switches,soifyouwantthesesignalstogettothealt3-4mix,you’llhavetopatchtheeffectsdevice’soutputsintooneofthestereochannels,andmute/altthosechannels.
41. Return To Aux 1Ifyouwanttoaddreverbordelaytothestagemonitor
mixesofaux1,thisistheswitchforyou.
Withtheswitchup,stereoreturn1and2behave normally—theydelivertheirsignalsintothemain mix.Withtheswitchdown,stereoreturn1stillbehavesnormally,butstereoreturn2willfeedauxsend1 insteadofthemainmix.
Stillwithus?Good.Sofar,withtheswitchdown,wehavestereoreturn1feedingthemainmixandstereoreturn2feedingauxsend1.Now,supposeyouonlyhaveoneeffectsdevice,andyouwantittofeedboththemainmixandauxsend1.That’swhere“jacknormalling”comesin:
Jack NormallingJacknormalling(nottobeconfusedwithJack
Normalling,ChicagoCubsutilityinfielder,1952-61, .267LBA)isafeaturefoundonalmosteverymixer,keyboardandeffectsdevice.Thesejackshavespecialspring-loadedpinsthatconnecttothesignalpins,butwhensomethingispluggedintothejack,thatconnectionisbroken.
Thesenormallingpinscanbeusedinallsortsof ways.Theubiquitousphrase“left(mono)”meansthat ifyouplugasignalintotheleftsideandhavenothing intherightside,thatsignalisalsofedtotherightinput,courtesyofjacknormalling.Assoonasyouplugsomethingintherightside,thatnormalledconnectionisbroken.
Howdoesallthisrelatetothereturntoaux1[41]switch?Stereoreturn1’sinputsarenormalledtostereoreturn2.Ifyouhaveoneeffectsdevice,plugitintostereoreturn1.Plugnothingintostereoreturn2.Nowthesignalsfeedingthestereoreturn1inputswillalsobesenttothestereoreturn2inputs.
Engagethereturntoaux1switch,andnowthestereoreturn2knobwillbecomeanadditionalauxsend1knobforthesignalatauxreturn1.Saythattentimesfast!Onceagain,auxreturn1willbehavenormally,asalways.
Congratulations!You’vejustreadaboutallthe featuresofyour1202VLZ4.You’reprobablyreadyfor acoldone.Goahead.Therestofthemanualcanwait.
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4 Appendix A: Service InformationIfyouthinkyour1202VLZ4hasaproblem,please
checkoutthefollowingtroubleshootingtipsanddo yourbesttoconfirmtheproblem.VisittheSupport sectionofourwebsite(www.720trees.com)where youwillfindlotsofusefulinformationsuchasFAQs andotherdocumentation.Youmayfindtheanswer totheproblemwithouthavingtosendyourmixeraway.
TroubleshootingBad Channel
• Isthemute/alt3–4switchinthecorrect position?
• Isthelevelknobturnedup?
• Tryunplugginganyinsertdevices(channels1–4only).
• Trythesamesourcesignalinanotherchannel,setupexactlylikethesuspectchannel.
Bad Output
• Istheassociatedlevelknob(ifany)turnedup?
• Ifit’soneofthemainouts,tryunpluggingalltheothers.Forexample,ifit’sthe1⁄4"leftmainout,unplugtheRCAandXLRLeftoutputs.Iftheproblemgoesaway,itsnotthemixer.
• Ifit’sastereopair,tryswitchingthemaround.Forexample,ifaleftoutputispresumeddead,switchtheleftandrightcords,atthemixerend.Iftheproblemswitchessides,it’snotthemixer.
Noise
• Turnthechannellevelandauxreturnknobsdown,onebyone.Ifthesounddisappears,it’seitherthatchannelorwhateverispluggedintoit,sounplugwhateverthatis.Ifthenoisedisappears,it’sfromyourwhatever.
Power
• Unplugthepowercordandcheckthefuse.
RepairForwarrantyservice,refertothewarranty
informationonpage27.
Non-warrantyserviceisavailableatafactory- authorizedservicecenter.Tolocatethenearest servicecenter,visitwww.720trees.com,click“ContactTechSupport”andselect“LocateaServiceCenter orDistributor”[3].Servicefora1202VLZ4living outsidetheUnitedStatesmaybeobtainedthrough localdealersordistributors.
Ifyoudonothaveaccesstoourwebsite,youcan callourTechSupportdepartmentat1-800-898-3211, Monday-Friday,duringnormalbusinesshours,PacificTime,toexplaintheproblem.TechSupportwilltell youwherethenearestfactory-authorizedservice centerislocatedinyourarea.
Appendix B: ConnectionsBalanced XLR Input Connector
The1202VLZ4mixerhasfourfemaleXLR inputs.BesurethecablesarewiredperAES (AudioEngineeringSociety)standards:
Balanced XLR Input Connector
Pin1–Shield(Ground) Pin2–Positive(+orhot) Pin3–Negative(–orcold)
2
3 1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
2
1
Balanced XLR Input Connector
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Balanced XLR Output Connector
ThemaleXLRconnectorsprovideabalancedline- levelsignalthatrepresentstheendofthemixer,wherethefullymixedstereosignalenterstherealworld. Connectthesetotheleftandrightline-levelinputsofpoweredspeakersortotheleftandrightline-levelinputsofanamplifier(withspeakersalreadyattached).BesurethecablesarewiredperAES(Audio EngineeringSociety)standards:
Balanced XLR Output Connector
Pin1–Shield(Ground) Pin2–Positive(+orhot) Pin3–Negative(–orcold)
Balanced 1/4" TRS Connector
TRSstandsforTip-Ring-Sleeve,thethreeconnectionsavailableonastereo1/4"cable.Thisallowsforadirectconnectiontothechannelinputjacks.BesurethecablesarewiredperAES(AudioEngineeringSociety)standards:
Balanced 1/4" TRS Connector
Sleeve–Shield(Ground) Tip–Positive(+orhot) Ring–Negative(–orcold)
TRSjacksandplugsareusedinseveraldifferent applications:
• Balancedmonocircuits.Whenwiredasa balancedconnector,a1⁄4"TRSjackorplug isconnectedtiptosignalhigh(hot),ringtosignallow(cold),andsleevetoground(earth).
• StereoHeadphones,andrarely,stereo microphonesandstereolineconnections. Whenwiredforstereo,a1⁄4"TRSjackorplugisconnectedtiptoleft,ringtorightandsleevetoground(earth).VLZ4mixersdonotdirectly
2
1
SHIELD
COLD
HOT
3
SHIELD
COLDHOT
3
2
1
Balanced XLR Output Connector
SLEEVE
TIPSLEEVE
TIP
RING
RING
TIP
SLEEVERING
Balanced 1/4" TRS Connector
accept1-plug-typestereomicrophones.Theymustbeseparatedintoaleftcordandarightcord,whicharepluggedintothetwomic preamps.
Youcancookupyourownadapterforastereomicrophone.“Y”twocablesoutofafemale1⁄4"TRSjacktotwomaleXLRplugs,onefortherightsignalandonefortheleft.
• Unbalancedsend/returncircuits.Whenwiredasasend/return“Y”connector,a1⁄4"TRSjackorplugisconnectedtiptosignalsend(outputfrommixer),ringtosignalreturn(inputbackintomixer),andsleevetoground(earth).
Unbalanced 1/4" TS Connector
TSstandsforTip-Sleeve,thetwoconnections availableonamono1⁄4"cable.Thisallowsforadirectconectiontothechannelinputjacks.BesurethecablesarewiredperAES(AudioEngineeringSociety) standards:
Unbalanced 1/4" TS Connector
Sleeve–Shield(Ground) Tip–Positive(+orhot)
TSjacksandplugsareusedinmanydifferentapplications,alwaysunbalanced.Thetipisconnected totheaudiosignalandthesleevetoground(earth).Someexamples:
• Unbalancedmicrophones
• Electricguitarsandelectronicinstruments
• Unbalancedline-levelconnections
Switched 1/4" Phone Jacks
Switchescanbeincorporatedinto1⁄4"phonejacks,whichareactivatedbyinsertingtheplug.Theseswitchesmayopenaninsertloopinacircuit,changetheinputroutingofthesignalorserveotherfunctions.The1202VLZ4usesswitchesinthechannelinsertandbusinsertjacks,inputjacksandstereoreturns.Italsousestheseswitchestogroundtheline-levelinputswhennothingispluggedintothem.
Inmostcases,theplugmustbeinsertedfullytoactivatetheswitch.The1202VLZ4takesadvantageofthisinsomecircuits,specifyingcircumstanceswhereyouaretoinserttheplugonlypartially.See“SpecialConnections”,onthenextpage.
SLEEVE
TIP
TIPSLEEVE
TIP
SLEEVE
Unbalanced 1/4" TS Connector
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4 Unbalanced RCA ConnectorRCA-typeplugs(alsoknownasphonoplugs)
andjacksareoftenusedinhomestereoandvideoequipmentandinmanyotherapplications.RCAplugsareunbalanced.Connectthesignaltothecenterpostandtheground(earth)orshieldtothesurrounding“basket.”BesurethecablesarewiredperAES(AudioEngineeringSociety)standards:
Unbalanced RCA Connector
Sleeve–Shield(Ground) Tip–Positive(+orhot)
Unbalancing a LineInmoststudio,stageandsoundreinforcementsitu-
ations,thereisacombinationofbalancedandunbal-ancedinputsandoutputsonthevariouspiecesofequipment.Thisusuallywillnotbeaprobleminmakingconnections.
• Whenconnectingabalancedoutputtoanunbalancedinput,besurethesignalhigh(hot)connectionsarewiredtoeachother,andthatthebalancedsignallow(cold)goestotheground(earth)connectionattheunbalancedinput.Inmostcases,thebalancedground(earth)willalsobeconnectedtotheground(earth)attheunbalancedinput.Ifthereareground-loopproblems,thisconnectionmaybeleftdisconnectedatthebalancedend.
• Whenconnectinganunbalancedoutputtoabalancedinput,besurethatthesignalhigh(hot)connectionsarewiredtoeachother.Theunbalancedground(earth)connectionshouldbewiredtothelow(cold)andtheground(earth)connectionsofthebalancedinput.Ifthereareground-loopproblems,tryconnectingtheunbalancedground(earth)connectiononlytotheinputlow(cold)connection,andleavingtheinputground(earth)connectiondiscon-nected.
• Insomecases,youwillhavetomakeupspecialadapterstointerconnectyourequipment.Forexample,youmayneedabalancedXLRfemaleconnectedtoanunbalanced1⁄4"TSphoneplug.
TIPSLEEVETIPSLEEVE
Unbalanced RCA Connector
TRS Send/Receive Insert Jacks
Single-jackinsertsarethree-conductor,TRS-type1⁄4"phone.Theyareunbalanced,buthaveboththemixeroutput(send)andthemixerinput(return)signalsinoneconnector.Seetheillsutrationbelow.
Thesleeveisthecommonground(earth)forbothsignals.Thesendfromthemixertotheexternalunitiscarriedonthetip,andthereturnfromtheunittothemixerisonthering.
Special ConnectionsThebalanced-to-unbalancedconnectionhasbeenan-
ticipatedinthewiringof1202VLZ4jacks.A1⁄4"TSpluginsertedintoa1⁄4"TRSbalancedinput,forexample,willautomaticallyunbalancetheinputandmakealltherightconnections.Conversely,a1⁄4"TRSpluginsertedintoa1⁄4"unbalancedinputwillautomaticallytiethering(loworcold)toground(earth).
Using the Send Only on an Insert Jack
IfyouinsertaTS(mono)1⁄4"plugonlypartially(tothefirstclick)intoaVLZ4insertjack,theplugwillnotactivatethejackswitchandwillnotopentheinsertloopinthecircuit(therebyallowingthechannelsignaltocontinueonitsmerrywaythroughthemixer).
Thisallowsyoutotapoutthechannelorbussignalwithoutinterruptingnormaloperation.
Ifyoupushthe1⁄4"TSplugintothesecondclick,youwillopenthejackswitchandcreateadirectout,whichdoesinterruptthesignalinthatchannel.Seetheillustrationonthenextpage.
Unbalanced 1/4" Insert Connectors
tip
This plug connects to one of the mixer’s Channel Insert jacks. ring
tipring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
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NOTE:Donotoverloadorshort-circuitthesignalyouaretappingfromthemixer.Thatwillaffecttheinternalsignal.
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
Y-cord splitter cable
VLZ4 Stereo Inputs and Returns: Mono, Stereo, Whatever
Stereolineinputsandstereoreturnsareafine exampleofourphilosophy(whichwejustmadeup) ofMaximumFlexibilitywithMinimumHeadache. Theinputsandreturnswillautomaticallybemono orstereo,dependinguponhowyouusethejacks. Here’showitworks:
Amonosignalshouldbepatchedintotheinput orreturnjacklabeledleft(mono).Thesignalwill beroutedtoboththeleftandrightsidesofthereturncircuit,andwillshowupinthecenterofthestereopairofbusesit’sassignedto,oritcanbepannedwiththepan[26]control.
Astereosignal,havingtwoplugs,shouldbepatchedintotheleft(mono)andtherightinputorreturnjacks.Ajackswitchintherightjackwilldisablethemonofunction,andthesignalswillshowupinstereo.
Amonosignalconnectedtotherightjackwillshowupintherightbusonly.Youprobablywillonlywanttousethissophisticatedeffectforspecialoccasions.
Mults and “Y”s
Amultor“Y”connectorallowsyoutorouteoneoutputtotwoormoreinputsbysimplyprovidingparallel wiringconnections.Youcanmake“Y”sandmultsfor theoutputsofbothunbalancedandbalancedcircuits.
Remember:Onlymultor“Y”oneoutputintoseveralinputs.Ifyouneedtocombineseveraloutputsintooneinput,youmustuseamixer,
notamultora“Y.”
TIP (SEND)
RING (IN)
TIP (OUT)
RING (RETURN)
TO MIXERCHANNEL INSERT
RING (RETURN)
TIP (SEND)
TO PROCESSOR
INPUT
FROM PROCESSOR
OUTPUT
Y-cord insert cable
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4 Appendix C: Technical InformationSpecificationsMain Mix Noise(20 Hz–20 kHz bandwidth, 1/4" Main out, channels 1–4 Trim @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right.)
Main Mix knob down, channel Gain knobs down: –100 dBu
Main Mix knob unity, channel Gain knobs down: –86.5 dBu
(90 dB Signal to Noise Ratio, ref +4 dBu)
Main Mix knob @ unity, channel Gain knobs @ unity: –84.5 dBu
Total Harmonic Distortion (THD)(1 kHz @ 30 dB gain, 20 Hz–20 kHz bandwidth)
Mic pre @ insert: 0.0007%
Attenuation (Crosstalk)(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity.)
Main Mix knob down: –75 dBu
Channel Alt / Mute switch engaged: –85 dBu
Channel Gain knob down: –87 dBu
Frequency ResponseMic Input to Main Output (Gain @Unity)
+0, –1 dB, 20 Hz to 50 kHz
+0, –3 dB, 100 kHz
Equivalent Input Noise (EIN)(Mic in to Insert Send out, max gain.)
150 termination: –128.5 dBu 20 Hz–20 kHz
Common Mode Rejection Ratio (CMRR)(Mic in to Insert Send out, max gain.)
1 kHz: better than –70 dB
Maximum LevelsMic in: +22 dBu
Tape in: +16 dBu
All other inputs: +22 dBu
Main Mix XLR out: +28 dBu
All other outputs: +22 dBu
ImpedancesMic in: 2.5 k
Channel Insert return: 2.5 k
All other inputs: 10 k or greater
Tape out: 1.1 k
All other outputs: 120
EQHigh Shelving ±15 dB @ 12 kHz
Mid Peaking ±15 dB @ 2.5 kHz
Low Shelving ±15 dB @ 80 Hz
Power Consumption 25 watts
Fuse Rating100-120V: 500 mA slo blo, 5 x 20 mm
220-240V: 250 mA slo blo, 5 x 20 mm
Dimensions (H x W x D) 10.7" x 11.9" x 3.0" (272 mm x 303 mm x 75 mm)
Weight 6.5 lb (3.0 kg)
Since we are always striving to make our products better by incorporating new and improved materials, components, and manufacturing methods, we reserve the right to change these specifications at any time without notice.
The “Running Man” figure is a registered trademark of LOUD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
©2013 LOUD Technologies Inc. All Rights Reserved.
WEIGHT6.5 lb3.0 kg
19.0 in / 483 mm(optional Rack Mount Kit)
3.0 in75 m
m
11.9 in / 303 mm
10.7 in / 272 mm
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Block Diagram
75H
zH
PF
MID
HI
80
2K5
12K
LO MID
HI
80
2K5
12K
LO
MID
HI
80
2K5
12K
LO
SOL
ORE
LAY
20 10 7 4 2 0 2 4 7 10 20 30
MAIN LMAIN RALT LALT R
AUX SEND 1 PREAUX SEND 1 POSTAUX SEND 2 POST
SOLOLOGIC
PHA
NTOM
POW
ER
MIC
IN
LINE
IN
GA
IN
INS
ERT
LO C
UT
3-BA
ND E
Q
LEVE
LPA
NM
AIN
/ A
LT
AUX
SEN
DS
SOL
O (P
FL)
MON
O CH
ANN
EL(1
OF
4)
21
3
STE
REO
CHA
NNEL
(1 O
F 4)
LINE
IN L
LINE
IN R
3-BA
ND E
Q
LEVE
LPA
N
MA
IN /
ALT
STE
REO
RETU
RN 1
L IN
R IN
STE
REO
RETU
RN 2
L IN
(MON
O)
R IN
GA
IN
GA
IN
RETU
RN T
OA
UX 1
MA
IN M
IXM
AIN
LEVE
L30
dB P
AD
TAPE
OUT
L
LINE
OUT
L
BAL
OUT
L
BAL
OUT
R
LINE
OUT
RA
LT M
IX
ALT
OUT
L
ALT
OUT
R
ALT
TAPE
MA
IN
SOU
RCE
CONT
ROL
ROOM
&PH
ONES
LEV
EL
MET
ERIN
G(0
dBu
= 0
VU)
LEFT
RIG
HT
CONT
ROL
ROOM
OUT
PHON
ES O
UT
AUX
MIX
AUX
1PR
E / P
OST
AUX
SEN
D 2
AUX
SEN
D 1
SOL
O M
IX
AS
SIG
N TO
MA
IN
TAPE
IN+6
dBL R
CONT
ROL
ROOM
&PH
ONES
MIX
2 31
2 31
RUDE
SOL
O LE
D
SOL
O (P
FL)
AUX
2 AUX
1
AUX
1 LE
VEL
TAPE
OUT
R
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SSIO
N:
DA
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# C
ups
of T
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1202VLZ4 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.
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16220 Wood-Red Road NE Woodinville, WA 98072 • USAPhone: 425.487.4333Toll-free: 800.898.3211Fax: 425.487.4337 www.720trees.com
Front CoverImportant Safety InstructionsContentsFeaturesIntroductionGetting StartedHookup DiagramsPatchbay Description1. Mic Ins (Channels 1-4)Phantom Power2. Line Ins (Channels 1-4)3. Low Cut (Channels 1-4)4. Gain (Channels 1-4)5. Stereo Line Ins (Channels 5-6, 7-8, 9-10 and 11-12)6. Imaginary ControlEffects: Serial or Parallel?7. Stereo Returns8. Aux Send 1&29. Tape In10. Tape Out11. 1/4" Main Outs12. Headphones Out13. XLR Main Outs14. XLR Main Out Level Switch15. Control Room Outs16. Alt 3-4 Outs17. Channel Insert (Channels 1-4)18. Power Connection19. Fuse20. Voltage Selector21. Power Switch22. Phantom Switch
Channel Strip Description23. Level24. Pre-Fader Solo25. Mute/Alt 3-426. Pan27. Low EQ28. Mid EQ29. Hi EQ30. Aux 2 Send31. Aux 1 Send
Output Section32. Main Mix33. Control Room Source Mix34. Control Room/Submix35. Rude Solo Light36. Assign to Main Mix37. Meters38. Pre or Post (Aux 1)39. Aux 1 Master40 Stereo Returns41. Return to Aux 1Jack Normalling
Appendix A: Service InformationAppendix B: ConnectionsAppendix C: Technical InformationSpecificationsDimensionsBlock DiagramTrack Sheet
Warranty StatementRear Cover