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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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3Owner’s Manual
Ow
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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:
Like usFollow usWatch our dang videos
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4 1202VLZ4
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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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5Owner’s Manual
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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
1
234
5
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
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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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[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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27
29
28
30
31
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.
20Hz 100Hz 1kHz 10kHz 20kHz–15
–10
–5
0
+5
+10
+15
20Hz 100Hz 1kHz 10kHz 20kHz–15
–10
–5
0
+5
+10
+15
Low EQ with Low Cut
Low EQ
20Hz 100Hz 1kHz 10kHz 20kHz–15
–10
–5
0
+5
+10
+15
Mid 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).
20Hz 100Hz 1kHz 10kHz 20kHz–15
–10
–5
0
+5
+10
+15
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”
Signal Flow Diagram
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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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27Owner’s Manual
Ow
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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
