Mackie VLZ3 4BUS User Manual

VLZ3 4•Bus

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LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

PAD

-20dB

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

LOW CUT

100 Hz

18dB/OCT

PAD

-20dB

LOW CUT

100 Hz

18dB/OCT

AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUXAUX

2404

M

UT

E

1

M

UT

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17

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ

PAN

EQ EQ EQ EQ EQ EQ

PAN PAN PAN PAN BAL BAL

EQ

PAN

RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RL RLRL

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

FREQ

INT FX

AUX 5/6

PRE

SOLO

LEFT

TAP

DELAY

INT FX

MUTE

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

HI

12k

LOW

80Hz

MID

HI

12k

LOW

80Hz

HI

12k

LOW

80Hz

LOW

MID

400Hz

HI

MID

2.5k

LOW

MID

400Hz

HI

MID

2.5k

INT FX

AUX 5/6

PRE

INT FX

AUX 5/6

PRE

INT FX

AUX 5/6

PRE

HI

12k

LOW

80Hz

MID

FREQ

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

1

2

3

4

PRE

5

6

FX1

FX2

PUSH

TO TALK

TALKBACKGROUPS

MAIN

RIGHT

AUX 1-4

STEREO

RIGHT

SOLO

LEFT

TO AUX 1

TO AUX 2

SOLO

PHONES

MONITOR

TAP

DELAY

INT FX

MUTE

TO AUX 1

TO AUX 2

RIGHT

SOLO

STEREO

LEFT

RIGHT

SOLO

LEFT

SEND MASTERSEND MASTER

TO MAINTO MAIN

FX

2

FX

1

1 2 3 4

MAIN MIX

SOLO

1

SOLO

1

2

3

4

2

SOLO

SOLO MODE

MAIN

FX 1

USB

STEREO RETURNSAUX MASTERS

SOLO

+15

OO

+15

OO

+15

OO

SOLO

U

MAX

OO

U

MAX

OO

U

MAX

OO

FX 2

U

MAX

OO

U

MAX

OO

SIG/OLSIG/OL

AUX

MAIN

MIX

0 dB=0 dBu

RUDE SOLO

20

10

7

4

2

0

2

4

7

10

20

30

LEFT RIGHT

SOLO

MAX

OO

U

MAX

OO

U

MAX

OO

U

MAX

OO

U

MAX

OO

U

MAX

OO

U

+20

OO

TO MAIN

PFL

AFL

GRP 1-2

CH 1-2 CH 3-4

AUX 5-6

PWR

48V

TAPE

USB

2-TRACK RETURN USB OUT

GRP 3-4

MAIN L/R

LEVEL

SET

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U U

MAX

OO

OFF MAX

COMP

OFF MAX

COMP

OFF MAX

COMP

OFF MAX

COMP

LEVEL

U

+15

OO

3

1

5

6

2

U

+15

OO

U

+15

OO

+15

OO

U

+15

OO

U

4

U

+20-20

U

+20-20

12V

0.5A

50%

25% 75%

0% 100%

SUCK

OFF MAX OFF MAX OFF MAX OFF MAX

COMP COMP COMP COMP

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

SOLO

3-4

1-2

L/R

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

OL

SIG

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

2k

800

200

8k100

U

-15

U

+15

-15 +15

U

-15 +15

U

-15 +15

U

-15 +15

U

-15 +15

U

-15 +15

U

-15 +15

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

0 60

-45dB+15dB

U

M

I

C

G

A

I

N

-

1

0

d

B

V

M

I

C

G

A

I

N

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

dB

30

20

10

OO

40

50

5

U

60

10

SIG

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SIG

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SIG

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SIG

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SIG

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SIG

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

SIG

SOLO

3-4

1-2

L/R

OL

dB

30

20

10

OO

40

50

5

U

60

10

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

U

+15

OO

2k

0 60

-45dB+15dB

U

800

200

8k100

U

-15

U

+15

-15 +15

U

M

I

C

G

A

I

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2404

USB

L

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TAPE

OUTIN

MONO

MAIN OUT

INSERT LINE

TIP=SEND

RING=RETURN

(BAL/UNBAL)

RIGHT

MAIN OUT

INSERT LINE

LEFT

MAIN OUT

INSERT LINE

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL) (BAL/UNBAL)

TALKBACK

MIC

POWER

ON

PHANTOM

ON

2 1 2 16 5 4

2 16 5 4

AUX INSERTS

(TIP=SEND, RING=RETURN)

AUX SENDS

(BAL/UNBAL)

L

R

(MONO)

STEREO RETURNS

(BAL/UNBAL)

3

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT IN SERT INSERT INSERT INSERT INSERT INSERT INSER T INSERT INSERT INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

20 19 18 17 16 15 14 13 12 11 9 8 7 6 5 4 3 2 110

MIC 20 MIC 19 MIC 18 MIC 1 7 MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1

X

D

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2

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3 2 14

GROUP OUTS

(BAL/UNBAL)

GROUP INSERTS

(TIP=SEND, RING=RETURN)

3 2 14

MONITOR

(MONO)

PHONES

MONITOR

L

R

L

R

23/24 21/22

(MONO)

(BAL/UNBAL) (BAL/UNBAL)

REVISION

SERIAL NUMBER

WARNING:

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR

MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE

PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.

AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

LEVEL

OUTPUT

OO

+6

24/32-Channel Premium FX Mixer with USB

OWNER’S MANUAL

2 VLZ3 4•Bus

Important Safety Instructions

PORTABLE CART

WARNING

CAUTION AVIS

RISK OF ELECTRIC SHOCK. DO NOT OPEN

RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.

AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.

CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PA S CET ARTICLE

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. Do not block any ventilation openings. Install in accordance with the

manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers,

stoves, or other apparatus (including ampliﬁers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type

plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not ﬁt into your outlet, consult an electrician for replacement of the obsolete outlet.

10.

Do not overload wall outlets and extension cords as this can result in a

risk of ﬁre or electric shock.

11.

Protect the power cord from being walked on or pinched particularly at

plugs, convenience receptacles, and the point where they exit from the apparatus.

12.

Only use attachments/accessories speciﬁed by the manufacturer.

13.

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.

14.

Unplug this apparatus during lightning storms or

when unused for long periods of time.

15.

Refer all servicing to qualiﬁed service personnel. Servicing is required

when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

16.

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.

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.

20. NOTE: This equipment has been tested and found to comply with the

limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorientorrelocatethereceivingantenna.

• Increasetheseparationbetweentheequipmentandthe

receiver.

• Connecttheequipmentintoanoutletonacircuitdifferentfrom

that to which the receiver is connected.

• Consultthedealeroranexperiencedradio/TVtechnicianfor

help.

CAUTION: Changes or modiﬁcations to this device not expressly

approved by LOUD Technologies Inc. could void the user's authority to operate the equipment under FCC rules.

21. This apparatus does not exceed the Class A/Class B (whichever is

applicable)

limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.

ATTENTION — Le présent appareil numérique n’émet pas de bruits

radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.

22.

Exposure to extremely high noise levels may cause permanent hearing

loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufﬁciently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has speciﬁed the permissible noise level exposures shown in the following chart.

According to OSHA, any exposure in excess of these permissible limits

could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here:

Duration, per day in hours 8 90 Duo in small club 6 92 4 95 Subway Train 3 97 2 100 Veryloudclassicalmusic

1.5 102 1 105 Johnny Boy screaming at Troy about

0.5 110

0.25 or less 115 Loudest parts at a rock concert

Sound Level dBA, Slow Response

Typical Example

deadlines

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.

Owner's Manual 3

Quick Start

We realize that you must be really keen to try out your new mixer. Please read the safety instructions on page 2, then have a look through some of the features and

details in this manual.

Setup

Use the mixer in a nice clean and dry environment,

free from dryer lint and dust bunnies.

Zero the controls

1. Fully turn down all the knobs to minimum, except for the channel EQ and pan controls, which should be centered.

2. Make sure all buttons are in the out position.

Connections

1. Make sure the AC power switch is off before making any connections.

2. Push the linecord securely into the IEC connector on the rear panel, and plug it into a 3-prong AC outlet. The mixer can accept AC voltage ranging from 100 VAC to 240 VAC.

3. Plug a balanced microphone into one of the mic XLR (3-pin) connectors. Or connect any line-level signal (keyboard, or guitar preamp) to a line input jack using a TS or a TRS 1/4" plug.

4. If your microphone requires phantom power, turn on the 48V phantom power button.

5. All mono channels have insert jacks that can be used to connect an external effects or dynamics processor into the signal chain.

6. Connect the main outputs of the mixer (either XLR or TRS 1/4") to the line level inputs of your ampliﬁer (with speakers already attached) or to the line level inputs of powered speakers.

any

Set the levels

It’s not even necessary to hear what you’re doing to set optimal levels. But if you’d like to: Plug headphones into the phones output jack, then turn up the phones knob just a little.

1. Turn on the mixer by pressing the top edge of the power switch.

2. For one channel, press the solo switch in, and the rude solo light will turn on.

3. Play something into that input at real-world levels.

4. Adjust that channel's gain control until the right main meter stays around the 0 dB LED (marked "level set").

5. Disengage the channel's solo switch.

6. Repeat steps 2 to 5 for the remaining channels.

7. Turn up the channel fader to the "U" mark.

8. Slowly turn up the main mix fader until you hear the signals in your headphones.

9. If needed, apply some channel EQ wisely.

10. Adjust the channel levels to get the best mix. Keep the gain controls and levels fully down on unused channels.

11. During the performance, if you notice a channel OL LED turning on during peaks, carefully turn down that channel's gain control until OL does not turn on.

Other Notes

• Whenshuttingdown,turnoffanypower

ampliﬁers or powered speakers ﬁrst. When powering up, turn them on last. This will reduce the chance of turn-on or turn-off thumps.

• Alwaysturndownthephoneslevelwhen

making connections, pressing solo, or doing anything that may cause loudness in the headphones. This will help protect your hearing.

• Alwaysturndownthemainmixleveland

monitor level when making connections to the mixer. Better yet, turn off the power.

• Savetheshippingbox!

4 VLZ3 4•Bus

Introduction

Awesomely unheard of features

USB Recording and Playback

TheVLZ34•BusSeriesMixersfeaturea4x2USB

recording and playback function. This means up to four signals may be recorded simultaneously and a stereo mix returned to the mixer for playback.

There are two switches in the master section labeled "USB OUT" that allow for monstrous ﬂexibility on the four recordable signals. The default switch conﬁguration routes subgroups 1-4 over the USB connection to your favorite DAW software for a "mix it later" 4-track recording. The Subgroup 1-2 switch also allows the L-R mix to be recorded for convenient stereo mixes of the show. The Subgroup 3-4 switch allows aux 5/6 to be sent to the DAW for a unique stereo recording or the use of DAW plug-ins as effects.

For playback, there are two switches in the master section labeled "2-TRACK RETURN". One switch [TAPE/ USB] changes the standard dual RCA inputs to main (tape, switch disengaged) to stereo USB to main (USB, switch engaged). This is an extremely convenient function for playing music over the main mix from a computer. We prefer to jam some Johnny 'The Man in Black' Cash in between bands at the local rock clubs. But feel free to play whatever you want, unless it's...

ah,nevermind,wewon'tgothere!

AnothercoolfeatureoftheVLZ34•Busisrouting

the stereo USB return to the last stereo channel of the mixer. This is a mighty ﬁne tool for a number of live and recording uses. For example, playback through the stereo channel allows the "Greg Mackie designed" 4-band EQ to be utilized to sweeten the sounds. It may also be used for overdubbing by sending music to the musicians' headphones through the auxes.

Last, but not least, it may be used to return plug-in effects from the DAW in a live mix scenario. One of our favorites is the CamelPhat VST that makes your average drummer sound like Bonham on How The West Was Won.

Powerful on-board dual FX engines and eight individual compressors

In pursuit of the ultimate Mackie "do-it-all" Live Sound Mixer, we threw in the kitchen sink and packed this bad boy with a full set of processors allowing you to travel "rack free" while still making professional sounding mixes.

For starters, we added not one, but TWO, of our patented Running Man FX processors (RMFX+ featuring 24 "gig-ready" effects right into the board. This does not include useless effects such as "the warbler" or the "insanity delay", but rather a suite of quickly accessible and useable reverbs, choruses and delays that make coloring your mix a breeze.

Additionally, both FX processors feature a tap delay, typically only available on an outboard rack. Delays may easily be sync'd with the song at the tap of a ﬁnger. And because we love ﬂexible routing (hehe), the processed signal may be sent direct to the mains and monitors from the effects section or re-routed to the two stereo channels to bring them through the EQ and aux section, utilizing the 60mm fader to draw them into the mix.

Butwait,there'smore!TheVLZ34•Bushaseight (yes,eight!)singleknobcompressorstostopthe

dynamic signals from poking out of the mix. Four compressors are located on the last four mic inputs so that the most critical signals (such as vocals, snare drum, the occasional jaw harp or mountain goats) may be addressed. Plus, there are single knob compressors on each of the four subgroups so that grouped signals (such as a drum set or a choir of didgeridoos) may be blended together for paramount smoothness.

Bottom line? You have an awesome mixer with Mackie VLZ3 sound quality, "built-like-a-tank" build quality and a recording and processing feature set that is

unparalleled.Congratulations...andhappymixing!

™

)

Owner's Manual 5

Features

How To Use This Manual

• ProvenVLZ3low-noise,high-headroomdesign

 •StudiogradeXDR2

 •130dBdynamicrange  •Distortionunder0.0007% 

(20 Hz - 20 kHz)

 •Phantompowerforstudio 

condenser mics

• 4subgroups,eachwithdedicatedcompressors

for total dynamic control

• Dedicatedin-linechannelcompressionfor

critical inputs

• 3-bandactiveEQwithcarefullyselected

frequency ranges for maximum ﬂexibility

• Dual32-bitRMFX+

"gig ready" effects including reverb, delay, and chorus

• Integrated4x224-bitUSBinterface

 •StreamsubgroupsormasterL/Rtoyour

laptop for recording

•Useyourfavoriteplug-inliveviaauxes5/6

•Convenientstereoreturnformusicplayback

from laptop during breaks

• 6auxsendswithinserts,1-2pre,3-4pre/post

switchable, 5-6 switchable to internal effects

• 18dB/oct100Hzlowcutlteravailableon

every mic input

• 60mmlong-wearinglogarithmic-taperfaders

• Allsteel,classicMackie"Built-Like-A-Tank"

chassis design

• Smallestfootprintinclasssavespreciousdesk

space: 2404-VLZ3: 6" x 29.4" x 19.1" 3204-VLZ3: 6" x 38" x 19.1"

• Lightweightandportable: 2404-VLZ3: 31 lbs / 14.1 kg 3204-VLZ3: 39 lbs / 17.7 kg

™

mic preamps

™

processors featuring 24

The ﬁrst pages after the table of contents are the hookup diagrams. These show typical setups for fun times with your mixer.

Next is a detailed tour of the entire mixer. The descriptions are divided into sections, just as your mixer is organized into distinct zones:

• RearPanel/Connections

• ChannelControls

• 2-Track,USB,AuxMasters,Meters

• StereoEffectsProcessors,Headphones,

Talkback, Main and Groups Mix

Throughout these sections you’ll ﬁnd illustrations with each feature numbered and described in nearby paragraphs.

This icon marks infor mation that is critically important or unique to the mixer. For your own good, read them and remember them.

This icon will lead you to some explanations of features and practical tips. Go ahead and skip these if you need to leave the room in a hurry.

Appendices

Appendix A: Service Information

 •Troubleshooting  •Repair

Appendix B: Connections

 •XLRConnectors  •1/4"TRSPhonePlugsandJacks  •1/4"TSPhonePlugsandJacks  •RCAPlugsandJacks  •TRSSend/ReceiveInsertJacks

Appendix C: Technical Information

 •Specications  •Dimensions  •BlockDiagram  •TrackSheet

Appendix D: USB and you... sb

Appendix E: Table of Effects Presets

6 VLZ3 4•Bus

Contents

IMPORTANT SAFETY INSTRUCTIONS ........................ 2

QUICK START .......................................................... 3

INTRODUCTION ...................................................... 4

TABLE OF CONTENTS ............................................... 6

HOOKUP DIAGRAMS............................................... 7

FEATURES ............................................................... 9

REAR PANEL - CONNECTIONS ............................... 9

1. MIC INPUTS ............................................. 9

2. LINE INPUTS ............................................ 9

3. INSERT .................................................. 10

4. STEREO LINE INPUTS .............................. 10

5. STEREO RETURNS 1-2 ............................ 10

6. TAPE INPUTS / OUTPUTS ....................... 10

7. L/R MAIN OUTPUTS: XLR & 1/4" .......... 11

8. MAIN INSERTS ....................................... 11

9. MONO OUT............................................ 11

10. MONO OUT LEVEL Control ...................... 11

11. GROUP OUTS 1-4 .................................. 11

12. GROUP INSERTS .................................... 11

13. AUX SENDS 1-6 ..................................... 11

14. AUX INSERTS ........................................ 12

15. LEFT/RIGHT MONITOR OUTPUTS ........... 12

16. MONO MONITOR OUTPUT ...................... 12

17. HEADPHONE OUTPUT ............................. 12

18. USB INPUT/OUTPUT .............................. 12

19. TALKBACK MIC ....................................... 14

20. POWER ................................................. 14

21. 48V PHANTOM POWER ......................... 14

22. POWER CONNECTION ............................. 14

FRONT PANEL - KNOB TWIDDLIN' SECTION ......... 15

23. GAIN CONTROL ...................................... 16

24. LOW CUT ............................................... 16

25. PAD (-20 dB) Switch .............................. 16

26. COMPRESSOR ........................................ 17

27. AUX SENDS 1-6 ..................................... 18

28. PRE-FADER / AUX SENDS 1-2 ................ 18

29. INT FX 1-2 / AUX SENDS 5-6 ................. 18

30. INT FX / AUX 5-6 Switch ....................... 18

31. HIGH EQ ................................................ 19

32. MID EQ .................................................. 19

33. MID EQ FREQUENCY ............................... 19

34. LOW EQ ................................................. 19

35. HIGH MID EQ LEVEL ............................... 19

36. LOW MID EQ LEVEL ................................ 19

37. PAN....................................................... 19

38. MUTE .................................................... 19

39. OL LED ................................................... 19

40. SIG LED ................................................. 20

41. SOLO ..................................................... 20

42. ASSIGN ................................................. 20

43. CHANNEL FADER .................................... 20

44. FX1 and FX2 .......................................... 20

45. USB Switch ............................................ 20

2-TRACK, USB, AUX MASTERS and METERS......... 21

46. LAMP .................................................... 21

47. SUCK KNOB ........................................... 21

48. 2-TRACK RETURN LEVEL ......................... 21

49. 2-TRACK RETURN SOLO ......................... 21

50. 2-TRACK RETURN TAPE/USB .................. 21

51. USB OUT ................................................ 22

52. MASTER AUX SENDS 1-6 ........................ 22

53. MASTER AUX SENDS SOLO ..................... 22

54. STEREO RETURNS 1-2 to AUX 1-4/MAIN 22

55. STEREO RETURNS SOLO .......................... 22

56. 48V LED ................................................ 22

57. POWER LED ........................................... 22

58. LEFT/RIGHT Level Meters ....................... 23

59. RUDE SOLO Light ................................... 23

60. SOLO MODE ........................................... 23

STEREO EFFECTS PROCESSORS, HEADPHONES, TALKBACK,

MAIN and GROUPS MIX ........................... 24

61. FX1 and FX2 SEND MASTER .................... 24

62. FX1 and FX2 TO AUX 1/AUX 2/MAIN .... 24

63. SIG/OL LED ........................................... 24

64. PRESET DISPLAY .................................... 24

65. PRESET SELECTOR, TAP DELAY and LED .... 25

66. INTERNAL FX MUTE ................................ 25

67. SOLO LEVEL ........................................... 25

68. MONITOR LEVEL .................................... 26

69. PHONES LEVEL ....................................... 26

70. TALKBACK LEVEL .................................... 26

71. PUSH TO TALK: MAIN, AUX 1-4 .............. 26

72. COMPRESSOR ........................................ 26

73. GROUPS ASSIGN .................................... 26

74. GROUP 1-4 FADERS ............................... 27

75. MAIN MIX ............................................. 27

APPENDIX A: SERVICE INFORMATION .................... 28

APPENDIX B: CONNECTIONS.................................. 29

APPENDIX C: TECHNICAL INFORMATION ................ 31

APPENDIX D: USB and YOU... SB ........................... 36

APPENDIX E: TABLE of EFFECTS PRESETS ................ 37

LIMITED WARRANTY ............................................. 38

Owner's Manual 7

Hookup Diagrams

2404

USB

L

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TAPE

OUTIN

MONO

MAIN OUT

INSERT LINE

RIGHT

MAIN OUT

INSERT LINE

LEFT

MAIN OUT

INSERT LINE

TALKBACK

MIC

POWER

ON

PHANTOM

ON

2 1 2 16 5 4

2 16 5 4

AUX INSERTS

AUX SENDS

L

R

STEREO RETURNS

3

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE INLINE IN

20 19 18 17 16 15 14 13 12 11 9 8 7 6 5 4 3 2 110

MIC 20 MIC 19 MIC 18 MIC 17 MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1

3 2 14

GROUP OUTS

GROUP INSERTS

3 2 14

MONITOR

PHONES

MONITOR

L

R

L

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23/24 21/22

WARNING:

AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

LEVEL

OUTPUT

+6

PGM 2

MAIN OUT MIC

BOOTH

FX PGM 1

HD1531 Powered Speaker

HD1801

Powered

Subwoofer

HD1801 Powered

Subwoofer

Laptop Computer with audio

production

software

Headphones

Turntables with phono-level output

Mackie d.2 Pro

DJ Production Console

Mackie HR824mk2

Powered Reference

Monitors L/R

Mackie SRM450v2 Powered Speakers

for Stage Monitors (Aux Sends 1-4)

Chris

on keys

Francis

on bass

DI

Box

Dustin

on drums

desTROYer

on six-string

Brian on

lead vox

Monitor EQ

(Aux Inserts 1-4)

SRM150

Powered Monitor

for keyboard player

(Aux Send 5)

The drummer is the mic and channel hog of the band; Dustin has the kick, snare and three toms mic'd up, in addition to two overhead mics. These run to mic inputs 1-7. desTROYer is rockin' the electric guitar through a Blackheart full stack rig. Each Blackheart cab is mic'd and connected to the channel 8 and 9 mic inputs. Keyboard player Chris is connected to the channel 10 and 11 line inputs...well, Chris isn't connected to the inputs; his keyboard is! Vocalist Brian is singing through a mic connected to the mic 19 input. A bass guitar is connected to an Ampeg rig which is connected (via DI) to the mic 20 input.

The last four mono channels of each Mackie VLZ3 4•Bus mixer have built-in compressors, so feel free to

"squeeze" the vocals and bass to heart's desire since they lie here. Last, but not least, a DJ is spinning

records connected (via Mackie d.2 Pro DJ mixer) to the line inputs on stereo channels 21/22. The sound guy (or gal) may monitor levels using headphones (via the headphones output) and/or a pair of Mackie HR824mk2's connected to the monitor L/R outputs.

Mackie SRM450v2 powered speakers are used as stage monitors for the band; they are connected to

the aux 1-4 send jacks. A Mackie SRM150 powered speaker receives a mono input from the aux 5 send, and is used as a monitor for Chris (the keyboard player). Graphic EQs are connected to aux inserts 1-4

to help prevent feedback.

The club is driven by connecting a pair of Mackie HD1801 powered subwoofers and a pair of Mackie HD1531 powered speakers to the main left and right outputs.

A laptop connects to the Mackie VLZ3 4•Bus mixer via the USB port, allowing the 2-channel main mix

to be recorded. Any music (iTunes laptop, as well. These can enter as either a source for the monitor and phones, or any available channels.

®

, mp3s, or other pre-recorded audio) may be played back from the

Typical Live Sound System

8 VLZ3 4•Bus

Once the band has played a few shows and feel that the songs are up to par, then it's time to record

2404

USB

L

R

TAPE

OUTIN

MONO

MAIN OUT

INSERT LINE

RIGHT

MAIN OUT

INSERT LINE

LEFT

MAIN OUT

INSERT LINE

TALKBACK

MIC

POWER ON

PHANTOM

ON

2 1 2 16 5 4

2 16 5 4

AUX INSERTS

AUX SENDS

L

R

STEREO RETURNS

3

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE IN LINE INLINE IN

20 19 18 17 16 15 14 13 12 11 9 8 7 6 5 4 3 2 110

MIC 20 MIC 19 MIC 18 MIC 17 MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1

3 2 14

GROUP OUTS

GROUP INSERTS

3 2 14

MONITOR

PHONES

MONITOR

L

R

L

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23/24 21/22

WARNING:

AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

LEVEL

OUTPUT

+6

Laptop Computer with audio

production

software

Mackie HR824mk2

Powered Reference

Monitors L/R

Headphone Amp

Headphones

Chris

on keys

Francis

on bass

Amplifier

modeler

DI

Box

Dustin

on drums

desTROYer

on six-string

Brian on

lead vox

them for posterity and all three adoring fans. The good thing is that the Mackie VLZ3 4•Bus mixer

functions great in both environments... live and recording!

Here is how to record the band in three easy steps:

1. Drum tracking: wire up everything as shown above. Bus the kick (panned left) to subgroup 1 and snare (panned right) to subgroup 2 so they are recorded to their own tracks in the DAW. They will show

up on inputs 1 and 2. All four subgroup assign 1-2 Left/Right switches should be engaged so these

signals may be monitored in mono. Bus the tom mics and overhead mics to subgroups 3 and 4; set the pans as preferred. The subgroup assign 3 left and subgroup assign 4 right switches should be engaged.

These signals are recorded and monitored with the pan image as set up on the mixer and will show up as inputs 3 and 4. Check the levels carefully as they cannot be mixed later. The drums now need to be mixed in the DAW before overdubbing takes place.

2. Overdubbing: rst, route the stereo USB return into the last stereo channel (23/24 or 31/32, depending on which VLZ3 4•Bus is being utilized). Next, route the stereo channel to the L/R Main so playback occurs in the headphones. Now route the bass to the L/R Main by sending the bass mic

(panned left) to subgroup 1, and input 1 to track 5 of the DAW, while sending the bass DI (panned right)

to subgroup 2, and input 2 to track 6 of the DAW. Finally, engage the subgroup assign 1 and 2 Left/

Right switches to hear the bass in mono. Congratulations, you are overdubbing with zero latency!

3. Rinse and repeat: follow these same steps for guitars, keyboards, vocals, kazoos, llamas, and whatever else you can ﬁt in the studio. It's that easy!

As the session progresses, the engineer, band, producer, A&R representative, and whatever posse may be present can crank the tunes through a pair of Mackie HR824mk2's and nod their collective heads to the beat.

Typical Recording System

Owner's Manual 9

VLZ3 4•Bus Features

2404

USB

L

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TAPE

OUTIN

MONO

MAIN OUT

INSERT LINE

TIP=SEND

RING=RETURN

(BAL/UNBAL)

RIGHT

MAIN OUT

INSERT LINE

LEFT

MAIN OUT

INSERT LINE

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL) (BAL/UNBAL)

TALKBACK

MIC

POWER

ON

PHANTOM

ON

2 1 2 16 5 4

2 16 5 4

AUX INSERTS

(TIP=SEND, RING=RETURN)

AUX SENDS

(BAL/UNBAL)

L

R

(MONO)

STEREO RETURNS

(BAL/UNBAL)

3

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

20 19 18 17 16 15 14 13 12 11 9 8 7 6 5 4 3 2 110

MIC 20 MIC 19 MIC 18 MIC 17 MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1

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GROUP OUTS

(BAL/UNBAL)

GROUP INSERTS

(TIP=SEND, RING=RETURN)

3 2 14

MONITOR

(MONO)

PHONES

MONITOR

L

R

L

R

23/24 21/22

(MONO)

(BAL/UNBAL) (BAL/UNBAL)

LEVEL

OUTPUT

OO

+6

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14 13

22 7 7 9 18

20

Rear Panel - Connections

1. MIC INPUTS

This is a female XLR connector that accepts a balanced mic or line level input from almost any type of source. The mic preamps feature our XDR2 design, with higher ﬁdelity and headroom rivaling any standalone mic preamp on the market today.

The XLR inputs are wired as follows: Pin 1 = Shield or ground Pin 2 = Positive (+ or hot) Pin 3 = Negative (– or cold)

We use phantom-powered, balanced inputs just like the big mega-consoles, for exactly the same reason: This kind of circuit is excellent at rejecting hum and noise.

Professional ribbon, dynamic, and condenser mics all sound excellent through these inputs. The mic/line inputs will handle any kind of level you can toss at them, without overloading.

Microphone-level signals are passed through the mixer's splendid microphone preampliﬁers to become line-level signals.

The XDR2 preamps accept balanced line-level signals because the mixer is equipped with a -20 dB pad on channels 1-16 (2404-VLZ3) and channels 1-24 (3204-VLZ3) so hot signals may pass.

See Appendix B (page 29) for further details and some rather lovely drawings of the connectors you can use with your mixer.

415

5

21 19

3 2

1

10888 6

PHANTOM POWER

Most modern professional condenser mics require 48V phantom power, which lets the mixer send low-current DC voltage to the mic’s electronics through the same wires that carry audio. (Semi-pro condenser mics often have batteries to accomplish the same thing.) “Phantom” owes its name to an ability to be “unseen” by dynamic mics (Shure SM57/SM58, for instance), which don’t need external power and aren’t affected by it anyway.

Phantom power may be selected by pressing up on the mixer's phantom [21] switch.

Never plug single-ended (unbalanced) micro phones, or ribbon mics into the mic

input jacks if phantom power is on. Do not plug instrument outputs into the mic XLR input jacks with phantom power on, unless you are certain it is safe to do so.

2. LINE INPUTS

These 1/4" jacks share circuitry (but not phantom power) with the mic preamps, and can be driven by balanced or unbalanced sources.

To connect balanced lines to these inputs, use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, wired as follows: Tip = Positive (+ or hot) Ring = Negative (– or cold) Sleeve = Shield or ground

To connect unbalanced lines to these inputs, use a 1⁄4" mono (TS) phone plug, wired as follows: Tip = Positive (+ or hot) Sleeve = Shield or ground

10 VLZ3 4•Bus

2404

USB

L

R

TAPE

OUTIN

MONO

MAIN OUT

INSERT LINE

TIP=SEND

RING=RETURN

(BAL/UNBAL)

RIGHT

MAIN OUT

INSERT LINE

LEFT

MAIN OUT

INSERT LINE

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL) (BAL/UNBAL)

TALKBACK

MIC

POWER

ON

PHANTOM

ON

2 1 2 16 5 4

2 16 5 4

AUX INSERTS

(TIP=SEND, RING=RETURN)

AUX SENDS

(BAL/UNBAL)

L

R

(MONO)

STEREO RETURNS

(BAL/UNBAL)

3

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

20 19 18 17 16 15 14 13 12 11 9 8 7 6 5 4 3 2 110

MIC 20 MIC 19 MIC 18 MIC 17 MIC 16 MIC 15 MIC 14 MIC 13 MIC 12 MIC 11 MIC 10 MIC 9 MIC 8 MIC 7 MIC 6 MIC 5 MIC 4 MIC 3 MIC 2 MIC 1

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GROUP OUTS

(BAL/UNBAL)

GROUP INSERTS

(TIP=SEND, RING=RETURN)

3 2 14

MONITOR

(MONO)

PHONES

MONITOR

L

R

L

R

23/24 21/22

(MONO)

(BAL/UNBAL) (BAL/UNBAL)

LEVEL

OUTPUT

OO

+6

“tip”

This plug c onnects to one of the mixer’s Channel Inse rt jacks.

“ring”

tip

ring

sleeve

SEND to proc essor

RETURN from processor

(TRS plug)

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3. INSERT

These unbalanced 1/4" jacks are for connecting serial effects processors such as compressors, equalizers, de-essers, or ﬁlters. The insert point is after the gain control [23] and low cut ﬁlter [24], but before the channel’s EQ [31-36] and level [43]. The channel signal can go out of the insert jack to an external device, be processed and come back in on the same insert jack. To do this requires a standard insert cable that must be wired thusly:

Tip = send (output to effects device)

Ring = return (input from effects device)

Sleeve = common ground

Insert jacks may be used as channel direct outputs; post-gain, and pre-EQ. See the connector section on page 30 (ﬁgure G) showing three ways to use insert cables.

4. STEREO LINE INPUTS

The stereo line inputs are designed for 1/4" TRS balanced or 1/4" TS unbalanced signals. They may accept any line-level instrument, effects device, CD player, etc.

Level control is available -20 dB to +20 dB if you are connecting a mono source. Use the left (mono) stereo return input, and the mono signals will appear on both sides of the main mix.

5. STEREO RETURNS 1-2

The stereo (aux) returns are designed for 1/4" TRS balanced or 1/4" TS unbalanced signals, from -20 dB to +20 dB. They allow the stereo processed output from external effects processors or other devices to be added to the main mix.

Level adjustment of the incoming signals is made with the stereo return controls [54].

You may also use these inputs to add any stereo line-level signals to your main mix, so it could be another line-level source, not just an effects processor.

If you are connecting a mono source, use the left (mono) stereo return input, and the mono signals will appear on both sides of the main mix.

6. TAPE INPUTS / OUTPUTS

The stereo unbalanced RCA inputs allow you to play a

®

tape, CD player, iPod The tape in jacks accept an unbalanced signal using standard hi-ﬁ hookup cables.

The stereo unbalanced RCA outputs allow you to record the main stereo mix onto a tape deck, hard disk recorder, or automatic CD burner, for example. This lets you make a recording for posterity/archive/legal purposes whenever the band gets back together again.

The tape output is the stereo main mix, and it is not affected by the main mix level control [75]. The output could also be used as an extra set of main outputs for feeding another zone.

dock, or other line-level source.

Owner's Manual 11

2404

USB

L

R

TAPE

OUTIN

MONO

MAIN OUT

INSERT LINE

TIP=SEND

RING=RETURN

(BAL/UNBAL)

RIGHT

MAIN OUT

INSERT LINE

LEFT

MAIN OUT

INSERT LINE

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL) (BAL/UNBAL)

TALKBACK

MIC

POWER

ON

PHANTOM

ON

2 1 2 16 5 4

2 16 5 4

AUX INSERTS

(TIP=SEND, RING=RETURN)

AUX SENDS

(BAL/UNBAL)

L

R

(MONO)

STEREO RETURNS

(BAL/UNBAL)

3

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

20 19 18 17 16 15 14 13 12 11 9 8 7 6 5 4 3 2 110

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GROUP INSERTS

(TIP=SEND, RING=RETURN)

3 2 14

MONITOR

(MONO)

PHONES

MONITOR

L

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L

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23/24 21/22

(MONO)

(BAL/UNBAL) (BAL/UNBAL)

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OUTPUT

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7. LEFT/RIGHT MAIN OUTPUTS: XLR & 1/4"

The male XLR connectors provide a balanced line-level signal that represents the end of the mixer chain, where your fully mixed stereo signal enters the real world. Connect these to the left or right inputs of your main power ampliﬁers, powered speakers, or serial effects processor (like a graphic equalizer or compressor/limiter). The XLR outputs are 6 dB hotter than the TRS outputs.

The 1/4" TRS output connectors provide balanced or unbalanced line-level signals. Connect these to the next device in the signal chain like an external processor (compressor/limiter), or directly to the inputs of the main ampliﬁer. These are the same signal that appears at the XLR main outputs, but 6 dB lower when the XLR is used balanced.

8. MAIN INSERTS

These 1/4" TRS jacks are for connecting serial effects such as compressors, equalizers, deessers, or ﬁlters. The insert point is after the mix amps, but before the main mix fader [75]. Refer to the description of the channel insert on the previous page to see how to make this connection.

9. MONO OUT

The male XLR connector [balanced] and 1/4" TRS output connector [balanced or unbalanced] provide a line-level signal that is a combination of the left and right main out [7] signals (L+R). You may use this for a separate mix that does not require a stereo feed, or to simply test the monaural compatibility of the stereo mix. Again, when used balanced, the XLR signal is 6 dB higher than that from the TRS jack.

10. MONO OUT LEVEL Control

This is a separate level control for the mono out [9]. It comes after the main mix fader [75], so turning the main mix fader up and down does affect the mono out signal. With this control turned all the way up, you will have 6 dB of extra gain at the mono out.

11. GROUP OUTS 1-4

These 1/4" TRS jacks provide balanced or unbalanced line-level signals and are typically patched to the inputs of a multitrack deck, or to secondary ampliﬁers in a complex installation.

12. GROUP INSERTS

These 1/4" TRS jacks are for connecting serial effects such as compressors, equalizers, de-essers, or ﬁlters. The insert point is after the mix amps, but before the group send masters [74] (and after the built-in stereo compressor [72]). Refer to the description of the channel insert on the previous page to see how to make this connection.

13. AUX SENDS 1-6

These 1/4" TRS connectors allow you to send balanced or unbalanced line-level outputs to external effects devices, headphone ampliﬁers, or stage monitors. These could either be passive stage monitors powered by an external ampliﬁer, or powered stage monitors with builtin power ampliﬁers. All six auxes are independent of each other, so you can run up to six separate aux mixes.

Aux sends 3-4 may either be pre or post fader, depending on the position of the pre/post switches [28]. For stage monitor work, use pre, so the stage monitors do not increase in volume when the channel level is adjusted. Imagine how upsetting that can be to big hairy drummers. This allows you to set up the monitor mix and levels just right, and not have it change every time a channel level is adjusted.

For external processors, use post. In this way, the feed to external processors will vary with the channel level, so the level of any returned effect (like an echo) will also change if the channel level is changed, keeping them in the same ratio (wet/dry).

12 VLZ3 4•Bus

2404

USB

L

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TAPE

OUTIN

MONO

MAIN OUT

INSERT LINE

TIP=SEND

RING=RETURN

(BAL/UNBAL)

RIGHT

MAIN OUT

INSERT LINE

LEFT

MAIN OUT

INSERT LINE

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL) (BAL/UNBAL)

TALKBACK

MIC

POWER

ON

PHANTOM

ON

2 1 2 16 5 4

2 16 5 4

AUX INSERTS

(TIP=SEND, RING=RETURN)

AUX SENDS

(BAL/UNBAL)

L

R

(MONO)

STEREO RETURNS

(BAL/UNBAL)

3

INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

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(BAL/UNBAL)

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(BAL/UNBAL)

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(BAL/UNBAL)

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(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

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GROUP OUTS

(BAL/UNBAL)

GROUP INSERTS

(TIP=SEND, RING=RETURN)

3 2 14

MONITOR

(MONO)

PHONES

MONITOR

L

R

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OUTPUT

OO

+6

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14 13

22 7 7 9 18

20

415

5

21 19

3 2

1

10888 6

14. AUX INSERTS

These 1/4" TRS jacks are for connecting serial effects such as compressors, equalizers, de-essers, or ﬁlters. The insert point is after the mix amps, but before the aux send masters [52] and the solo switch [60] (so you may hear the external processor when soloing the aux send). Refer to the description of the channel insert on page 11 to see how to make this connection.

15. LEFT/RIGHT MONITOR OUTPUTS

These 1/4" TRS jacks provide a balanced line-level signal that may be used to provide an additional main mix output or to monitor soloed channels.

Connect these outputs to the inputs of an ampliﬁer, powered speaker, headphone distribution ampliﬁer, or recording device.

16. MONO MONITOR OUTPUT

This 1/4" TRS output connector provides a balanced line-level signal that is a combination of the left and right monitor out [15] signals (L+R). You may use this for a separate mix that does not require a stereo feed, or to simply test the monaural compatibility of the stereo mix.

Connect these outputs to the inputs of an ampliﬁer, powered speaker, headphone distribution ampliﬁer, or recording device.

17. HEADPHONE OUTPUT

This 1/4" TRS connector supplies the output to your stereo headphones. It is the same signal that is routed to the monitor outputs [15-16]. The volume is controlled with the phones knob [69], right next to the monitor knob [68].

Whenever a solo switch [41, 49, 53, 55, 73] is engaged, you will only hear the soloed channel(s), 2-track return, aux(es), and/or group(s) in the headphones. This gives you the opportunity to audition the channels before they are added to the main mix. (Solo signals reaching the headphones are not affected by the channel level or main level (except in AFL mode), therefore turn down the phones level ﬁrst, as soloed channels may be loud.)

The phones output follows standard conventions:

Tip = Left channel

Ring = Right channel

Sleeve = Common ground

WARNING: The headphone amp is loud, and can cause permanent hearing damage. Even intermediate levels may be painfully loud

withsomeheadphones.BECAREFUL!Alwaysturnthe

phones level control [69] all the way down before connecting headphones or pressing a solo switch, or doing anything new that may affect the headphone volume. Then turn it up slowly as you listen carefully.

18. USB INPUT/OUTPUT

The built-in USB interface allows for some powerful and ﬂexible routing. It is a 4x2 interface allowing you to record up to four streams from the mixer, or to input stereo playback from a computer and route it to nearly any output or pair of outputs on the mixer. To use this feature with a PC, ﬁrst download the PC ASIO driver from www.mackie.com. If connecting to a Mac, the mixer will show up as a 4x2 device with no driver required.