Yorkville VGM14 Owner's Manual

OWNER'S MANUAL

MANUEL DE L'UTILISATEUR

TYPE: YS1097

This lightning flash with arrowhead symbol, within

IMPORTANT SAFETY INSTRUCTIONS

safety-4v8 • April 14/2011

an equilateral triangle, is intended to alert the user to
the presence of uninsulated “dangerous voltage”

magnitude to constitute a risk of electric shock to persons.
Ce symbole d’éclair avec tête de flèche dans un triangle

équilatéral est prévu pour alerter l’utilisateur de la présence d’un
« voltage dangereux » non-isolé à proximité de l’enceinte du
produit qui pourrait être d’ampleur suffisante pour présenter
un risque de choque électrique.

within the product’s enclosure that may be of sufficient

FOLLOW ALL INSTRUCTIONS SUIVEZ TOUTES LES INSTRUCTIONS

Instructions pertaining to a risk of fire,

electric shock, or injury to a person

CAUTION: TO REDUCE THE RISK OF ELECTRIC

SHOCK, DO NOT REMOVE COVER (OR BACK).

NO USER SERVICEABLE PARTS INSIDE.

REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

THIS DEVICE IS FOR INDOOR USE ONLY!

The exclamation point within an equilatereal triangle is
intended to alert the user to 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 prévu pour alerter l’utilisateur de la présence

d’instructions importantes dans la littérature accompag­nant l’appareil en ce qui concerne l’opération et la

maintenance de cet appareil.

S2125A

Instructions relatives au risque de feu,

choc électrique, ou blessures aux personnes

AVIS: AFIN DE REDUIRE LES RISQUE DE CHOC ELECTRIQUE,

N’ENLEVEZ PAS LE COUVERT (OU LE PANNEAU ARRIERE)

NE CONTIENT AUCUNE PIECE REPARABLE PAR L’UTILISATEUR.

CONSULTEZ UN TECHNICIEN QUALIFIE POUR L’ENTRETIENT

CE PRODUIT EST POUR L’USAGE À L’INTÉREUR SEULEMENT

Read Instructions: The Owner’s Manual should be read and understood before operation

of your unit. Please, save these instructions for future reference and heed all warnings.

Clean only with dry cloth.
Packaging: Keep the box and packaging materials, in case the unit needs to be

returned for service.
Warning: To reduce the risk or fire or electric shock, do not expose this apparatus to rain or

moisture. Do not use this apparatus near water!

Warning: When using electric products, basic precautions should always be followed,
including the following:

Power Sources

Your unit should be connected to a power source only of the voltage specified in the
owners manual or as marked on the unit. This unit has a polarized plug. Do not use
with an extension cord or receptacle unless the plug can be fully inserted. Precau­tions should be taken so that the grounding scheme on the unit is not defeated. An

apparatus with CLASS I construction shall be connected to a Mains socket outlet with
a protective earthing ground. Where the MAINS plug or an appliance coupler is used
as the disconnect device, the disconnect device shall remain readily operable.

Hazards

Do not place this product on an unstable cart, stand, tripod, bracket or table. The
product may fall, causing serious personal injury and serious damage to the product.
Use only with cart, stand, tripod, bracket, or table recommended by the manufacturer
or sold with the product. Follow the manufacturer’s instructions when installing the
product and use mounting accessories recommended by the manufacturer. Only use
attachments/accessories specified by the manufacturer

Note: Prolonged use of headphones at a high volume may cause
health damage on your ears.

The apparatus should not be exposed to dripping or splashing water; no objects

filled with liquids should be placed on the apparatus.

Terminals marked with the “lightning bolt” are hazardous live; the external wiring

connected to these terminals require installation by an instructed person or the use of
ready made leads or cords.

Ensure that proper ventilation is provided around the appliance. Do not install near

any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.

No naked flame sources, such as lighted candles, should be placed on the apparatus.

Power Cord

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. The AC supply cord should be routed so that it is unlikely that it will be
damaged. Protect the power cord from being walked on or pinched particularly at plugs. If
the AC supply cord is damaged DO NOT OPERATE THE UNIT. To completely disconnect
this apparatus from the AC Mains, disconnect the power supply cord plug from the AC
receptacle. The mains plug of the power supply cord shall remain readily operable.

Unplug this apparatus during lightning storms or when unused for long periods of time.

Service

The unit should be serviced only by 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.

Veuillez Lire le Manuel: Il contient des informations qui devraient êtres comprises avant
l’opération de votre appareil. Conservez. Gardez S.V. P. ces instructions pour consultations
ultérieures et observez tous les avertissements.

Nettoyez seulement avec le tissu sec.

Emballage: Conservez la boite au cas ou l’appareil devait être retourner pour réparation.
Avertissement: Pour réduire le risque de feu ou la décharge électrique, n'exposez pas

cet appareil à la pluie ou à l'humidité. N’utilisez pas cet appareil près de l’eau!
Attention: Lors de l’utilisation de produits électrique, assurez-vous d’adhérer à des

précautions de bases incluant celle qui suivent:

Alimentation

L’ appareil ne doit être branché qu’à une source d’alimentation correspondant au
voltage spécifié dans le manuel ou tel qu’indiqué sur l’appareil. Cet appareil est équipé
d’une prise d’alimentation polarisée. Ne pas utiliser cet appareil avec un cordon de
raccordement à moins qu’il soit possible d’insérer complètement les trois lames. Des
précautions doivent êtres prises afin d’eviter que le système de mise à la terre de
l’appareil ne soit désengagé. Un appareil construit selon les normes de CLASS I
devrait être raccordé à une prise murale d’alimentation avec connexion intacte de mise
à la masse. Lorsqu’une prise de branchement ou un coupleur d'appareils est utilisée
comme dispositif de débranchement, ce dispositif de débranchement devra demeurer
pleinement fonctionnel avec raccordement à la masse.

Risque

Ne pas placer cet appareil sur un chariot, un support, un trépied ou une table instables.
L’appareil pourrait tomber et blesser quelqu’un ou subir des dommages importants.
Utiliser seulement un chariot, un support, un trépied ou une table recommandés par le
fabricant ou vendus avec le produit. Suivre les instructions du fabricant pour installer
l’appareil et utiliser les accessoires recommandés par le fabricant. Utilisez seulement
les attachements/accessoires indiqués par le fabricant

Note: L'utilisation prolongée des écouteurs à un volume élevé peut
avoir des conséquences néfastes sur la santé sur vos oreilles. .

Il convient de ne pas placer sur l’appareil de sources de flammes nues, telles que

des bougies allumées.

L’appeil ne doit pas être exposé à des égouttements d’eau ou des éclaboussures

et qu’aucun objet rempli de liquide tel que des vases ne doit être placé sur l’appareil.

Assurez que lappareil est fourni de la propre ventilation. Ne procédez pas à
l’installation près de source de chaleur tels que radiateurs, registre de chaleur, fours
ou autres appareils (incluant les amplificateurs) qui produisent de la chaleur.

Les dispositifs marqués d’une symbole “d’éclair” sont des parties dangereuses
au toucher et que les câblages extérieurs connectés à ces dispositifs de
connection extérieure doivent être effectivés par un opérateur formé ou en utilisant
des cordons déjà préparés.

Cordon d’Alimentation

Ne pas enlever le dispositif de sécurité sur la prise polarisée ou la prise avec tige de
mise à la masse du cordon d’alimentation. Une prise polarisée dispose de deux lames
dont une plus large que l’autre. Une prise avec tige de mise à la masse dispose de
deux lames en plus d’une troisième tige qui connecte à la masse. La lame plus large ou
la tige de mise à la masse est prévu pour votre sécurité. La prise murale est désuète si
elle n’est pas conçue pour accepter ce type de prise avec dispositif de sécurité. Dans
ce cas, contactez un électricien pour faire remplacer la prise murale. Évitez
d’endommager le cordon d’alimentation. Protégez le cordon d’alimentation. Assurez­vous qu’on ne marche pas dessus et qu’on ne le pince pas en particulier aux prises.
N’UTILISEZ PAS L’APPAREIL si le cordon d’alimentation est endommagé. Pour
débrancher complètement cet appareil de l’alimentation CA principale, déconnectez le
cordon d’alimentation de la prise d’alimentation murale. Le cordon d’alimentation du
bloc d’alimentation de l’appareil doit demeurer pleinement fonctionnel.

Débranchez cet appareil durant les orages ou si inutilisé pendant de longues périodes.

Service

Consultez un technicien qualifié pour l’entretien de votre appareil. L'entretien est
nécessaire quand l'appareil a été endommagé de quelque façon que se soit. Par exemple
si le cordon d’alimentation ou la prise du cordon sont endommagés, si il y a eu du liquide
qui a été renversé à l’intérieur ou des objets sont tombés dans l'appareil, si l'appareil a été
exposé à la pluie ou à l'humidité, si il ne fonctionne pas normalement, ou a été échappé.

Introduction

Welcome to the Yorkville Sound VGM14, a versatile, compact, low-noise live audio mixer
designed for use in small to medium size clubs, churches and corporate events as well as
home studios. The VGM14 is suited for use with powered loudspeakers, power amplifiers
as well as other types of recording gear.

The Yorkville Sound VGM14 features:

• A simple, soft-knee audio compressor on the mono channels providing a better mix

• Set Level LEDs on channel inputs for easy Channel Gain adjustment

• A switchable hi-impedance guitar input on two channels

• 48-volt phantom power

• Parametric EQ on the mono channels, 4 band EQ on the stereo channels

• Aux bus with a pre/post switch on all channels

• Onboard 24-bit digital effects with 16 adjustable presets

• Audio compression on the internal effects for cleaner digital effects

• Assignable stereo graphic equalizer

• Break switch mutes all input channels

• All input channels feature their own Mute switch

• All input channels feature a Solo function

• Clip LEDs on all critical signal inputs and outputs

• Set Level LED on the Media Output for optimum USB audio level

• Balanced XLR and T.R.S. phone jack outputs

• Zone/Sub adjustable output

• USB audio input and output

• Universal switching power supply operates on 100 to 240 volts AC

• LED lamp connector

1

Realizing that some VGM14 users may be unfamiliar with certain features, this manual

1/4-inch Phone Plug

1/4-inch T.R.S. Phone Plug

XLR Plug

will help to explain the various functions through describing specific functions for by user.

For general information about mixing and other facets of sound-reinforcement check
out our P.A. User Guide available on the internet... (http://www.yorkville.com).

Input Channel Features

1. Microphone Inputs

All mono and stereo input channels have microphone XLR inputs. These microphone inputs

are balanced for maximum noise suppression. The VGM14 active input circuitry accepts micro-

phones with impedances ranging from 50 ohms through 10,000* ohms. All low impedance
microphones are compatible. Phantom power (covered in the Rear Panel section of this man-

ual) is available on all Mic inputs when activated. This feature is for condenser microphones
but dynamic microphones can also connect simultaneously without problems.

*Although it would be customary to plug high impedance microphones into the Line jacks,
most of them will also work in the Mic inputs, provided the microphone’s built-in XLR con­nections are wired with the audio signal on pin 2 and pin 3 is connected to pin 1.

2. Balanced Line Inputs

Mono line-level sources, such as guitar amplifier line-level outputs, keyboards, and hi­impedance microphones connect to the mono or stereo channels through the line input

jacks. The Left and Right Line inputs on the stereo channels are wired internally so
that a single (mono) signal connected to the L/Mono input will also be patched over to
the Right input (as long as a phone plug is not plugged into the Right jack). This sim­plifies connecting a mono source, should the need arise (in the situation where all the

mono channels are taken).

You can connect stereo audio sources such as a CD-player, MP3 player or tape deck to
the Line inputs on the stereo channels. Use RCA to phone plug adapters to connect RCA
cables to the Line inputs. It is possible to connect stereo sources to the mono channels;
however you will need to plug the Left and Right signals into separate channels to avoid

the risk of inter-modulation distortion. The inter-modulation distortion may be caused by

using a “Y” connector to combine the left and right signals into a single Line jack. If you
connect a stereo source to two mono channels don’t forget to adjust the Pan controls so
that one is set to L(eft) and the other is set to R(ight). this will make sure that the left

and right music signals remain separate.

Channels 9 and 10 have high impedance, unbalanced ¼-inch inputs. They’re opti-

mized for instruments such as electric or acoustic guitars. To change to a high imped-

ance input, push the appropriate Hi-Z switch.

The balanced connector wiring is:
Tip (or XLR pin 2) = hot, in phase;
Ring (or XLR pin 3) = hot, reverse phase;
Sleeve (or XLR pin 1) = ground

You can connect an unbalanced source to the Line inputs with a standard unbalanced
shielded patch cable without any adverse affects.

2

Input Wiring tips:

1. For all input connectivity use shielded wire only. Cables with a foil shield or a high-

density braid are best.

2. When changing input connections, turn down the level controls on the mixer to

eliminate pops and thumps out of the loudspeakers.

3. Keep input connection cables as short as possible to minimize noise and hum.

A slight modification to a balanced patch cable will help achieve noise cancellation
when connecting the VGM14 to an unbalanced unit. Simply modify one end of a bal­anced patch cord and de-solder the wire from the ring tab, then resolder the wire to the
shield tab making sure that it does not touch anything else. Now re-assemble the plug
and mark it with some tape for future reference. This will be the end that you plug into
the unbalanced music source (this will also work with an RCA connector).

For best performance when connecting turntables, a phono RIAA pre-amplifier must
be used to connect to the VGM14 inputs.

Connecting signals to both types of inputs on any one channel (Mic and Line In) is
NOT recommended. To do so may change the gain of the input circuit.

3. Insert Jacks

These are 1/4-inch Tip-Ring-Sleeve (TRS) connectors, combining send and return func­tions for patching outboard signal processing directly into a channel. A suitable patch
cable for this function (e.g. Yorkville model PC-6iSPH) would consist of a single TRS (ste­reo) 1/4-inch plug and two lengths of shielded cable with a common ground branching to
two regular (mono) 1/4-inch plugs. The TRS wiring is tip/send, ring/return and sleeve/
ground. Since the PC-6iSPH comes with the leads marked Tip and Ring, connect the Tip
plug to the input of the signal processor (EQ, compressor, echo, etc.); connect the Ring
plug to the processor’s output. The TRS plug would go into the Insert jack.

The send function is post-Gain and post-HPF (high-pass-filter). Alternately, the Insert

jack may be used to send an audio signal from that channel to a powered monitor (some

people want to hear only themselves). Simply use an unbalanced shielded patch cable –

in this one case, a balanced cable will not work. Be sure to insert the plug only to the
first “click” when using the Insert as a channel send, otherwise the signal is interrupted
and the channel will not work. If this happens, you have inserted the plug too far. Simply

pull the plug out gently to the first stop.

4. Gain Control

The VGM14 features active channel input circuitry with exceptionally high audio headroom.

The Gain control adjusts the input gain level to match it with the input audio signal level.
There are two gradation circles on the gain controls, the outer one (-24 dB to +60 dB) is
the gain for the Mic Input, the inner one (-36 dB to +45 dB) is for the Line input. This con­trol has a wide range of 84 dB and is very useful to the user when setting the gain.

Here is a quick way to ensure that the Gain is adjusted correctly for the highest head­room and lowest noise during a sound check. First turn the Channel Fader to the infin­ity symbol. With a music source playing into the mixer’s channel, turn the Gain control
clockwise until the Set Level LED begins to flash. Having the Set Level LED flashing
shows you that you have the optimum gain setting for the music level on that channel
input. Having the Set Level LED remain on continuously indicates that you should turn
down the Gain control until the Set Level LED is flashing. Having the Set Level LED
remain on continuously indicates that the input audio compressor is active. Now turn
up the Channel Fader to the desired audio level for the overall music mix. How to use
the input audio compressor is explained below.

The VGM14’s Clip LED will turn on at 3 dB below the onset of actual clipping. It’s okay to
have this LED flash occasionally during music peaks. You’ll find that this, or any audio sys­tem, performs with less distortion (and less noise) when the gain controls are set properly.

3

5. Input Channel Audio Compressor

Each of the mono input channels of the VGM14 (channels 1-10) has an internal dual-

slope soft-knee audio compressor. The VGM14’s compression function is suitable for
keyboards, percussive sources, and vocals.

A compressor reduces the dynamic range of the music providing a more constant
level. Like having a sound engineer dynamically adjusting the gain of each channel
for the optimum audio level.

The VGM14 compressor works automatically in the background. It can reduce clipping

of the audio signal during loud passages in the music which provides a tighter sound

typically heard in audio recordings. You can adjust how much compression you want with

the input channel Gain control.

Here is how to use the compressor: in automatic mode, set the Gain level so that
the Set Level LED is just blinking to the music. The compressor will remain off until
someone yells into the microphone or there is a loud percussive sound, then the com­pressor will lower the gain, reducing the possibility of clipping. To adjust for little to no
compression, have the music source playing into the input channel. Turn up the input
channel Gain control to the point where the Set Level LED is just blinking with the
music. At this point the full dynamic range of the music source will be experienced.
Continuing to turn the input channel Gain control clockwise, the music will get louder.
To maintain the same audio level turn down the Channel Fader for the channel being
adjusted. The further the input channel Gain control is turned clockwise, or the louder
the music source becomes, the greater the compression will be experienced.

If the Clip LED blinks occasionally then the maximum amount of compression has
been reached. If the Clip LED remains on for longer periods, turn down the input Gain
level until the Clip LED blinks occasionally.

6. High Pass Filter Button

Situated at the top of the channel strip, this switch activates a High-Pass Filter (a bass
roll-off of 18 dB per octave below 80 Hz). The HPF (High-Pass Filter) is useful for control­ling unwanted low-frequency spillover picked up by microphones located too close to the
bass drum, bass amp or the keyboard amp. It is also effective in optimizing acoustic guitar
pickups that sound boomy from the guitar body resonance (the lowest note on a concert­tuned guitar is 81.2 Hz, so you are not losing anything by rolling off the input response
below 80 Hz). Additionally, the HPF works to reduce breath pops and wind noise from vocal
microphones. Any microphone, or pickup, connected to a source that does not go below 80
Hz should have the HPF activated. This includes most wind instruments, most male voices,

nearly all female voices and all drum microphones except for the kick-drum.

Why roll off the bass on these channels? …Because you will get better sound clarity
and improve the system’s gain before feedback.

4

Mono

Channel

7. Mono Channel EQ

The VGM14’s mono channels feature 3-band Equalization consisting of Low and High shelv­ing filters and a sweepable Mid control. The Low and High shelving filters are preconfig­ured at 80 Hz and 12 kHz with a control range of +/-15dB. The sweepable Mid EQ has a
selectable frequency range from 150Hz to 5 kHz, with a control range of +/-15dB. The tone
control frequencies were carefully chosen to help achieve the best quality of sound.

It’s best to set the channel EQ during a sound check. It is best to minimize the amount of

EQ “boost” or “cut” you add to the audio. +/-15dB represents a considerable level change.

For vocals turning the Low control counterclockwise will reduce the boominess of
male voices. For male or female vocals it will also “clean up” the mix, as this channel
will reduce the bass sound from instruments heard by this microphone.

The Mid control is a very powerful because adjusting it affects the tone of any music
source. Including the sweep frequency control makes the mid EQ even more useful albeit
more complicated. A good rule-of-thumb to follow is, use as little boost and cut as pos­sible to the signal. If a vocal, or instrument, sounds “honky” you would typically “cut” (or
turn the Mid control counter clockwise) in order to reduce the selected mid frequency. You

might also try to dial the boost control into the 2 o’clock position and rotate the frequency
control from 150 Hz to 5 kHz which might help you to find the annoying frequency in the
audio source. Then, with the frequency control set to that particular annoying frequency,
slowly turn the Mid level control down to the (-) side of “0” to obtain the best sound.

One possible cure for a bad feedback problem is to use the sweepable Mid EQ to
attenuate only the frequency that is causing the feedback. That way, fewer innocent
frequencies are affected. Simply set the Mid level control to the 10 o’clock position
then slowly rotate the sweep frequency control from 150 Hz to 5 kHz until the feedback
stops. Now turn the Mid level control up slightly to normalize the frequency response
as much as possible without feedback.

Cymbals can sound hotter, or an instrument can sound brighter, when you boost the High
EQ control. Be cautious and only add a little boost. Too much boost can be the cause of
the dreaded, squealing feedback. Cutting the High EQ setting can reduce hiss coming
from some audio sources, and may make some bass toned instruments sound warmer.

Although frequency sweep controls have graced the channel EQs of recording mixers
for many years, they’re usually found on more upscale P.A. mixers used for live applica­tions. As a result, many P.A. users, even veterans, are a little unfamiliar with their func­tion. The Sweep control determines the range of frequencies that are affected by the Mid
cut/boost, it moves (or sweeps) the Mid control’s peak (or notch) in response up to sev­eral thousand Hertz, or down to below 100 Hz. As a result, it may have quite a noticeable
effect on the sound quality, especially since the MID cut or boost will be interacting
with whatever cuts (or boosts) you may have set with the Low or High EQ controls.

The Sweep control can shape the sound similar to the way a typical EQ does but more
precise since you have control of the frequency being affected. It is worthwhile to spend
some time becoming acquainted with how it works.

Be cautious, if you boost the Low tone control and then add a Mid boost at 150
Hz, this would create a situation of overlapping boosted frequencies. This can
potentially damage your woofers due to excessive low frequency content. Simi­larly, watch out for your tweeters/horns if you set the Mid frequency at 5 kHz at
then turn up the High tone control.

As music plays through a channel on the mixer and speakers, adjust that chan­nel’s Mid tone control, first boosting, then cutting, and then sweeping back and
forth. (Note: if the Mid control is set to the center position, the Sweep control
will have no effect at all). Repeat the process with the channel’s Low and High
EQ controls at various settings (remember to keep the volume at a safe level).

Note: Setting the Mid Sweep frequency to 2.5 kHz is the same frequency of the
fixed Mid controls on our other mixers.

Together, Mid and Sweep controls can be used to accomplish a variety of tasks from

combating feedback to improving the way things sound through the P.A. or on recording.

Here are some of those tasks and settings:

Note: These are approximate settings only. Use them as a starting point and
“tune around” them.

• Killing feedback? Set Mid at -6 dB and slowly rotate Sweep until the feedback stops.
If needed cut the MID further.

• Bonky sounding snare drum? -6 dB @ 200 Hz (roll off Low EQ -6 dB)

• Boomy bass drum? -6 dB @ 300 Hz (Low EQ @ +6 dB and High EQ @ +3 dB)

• Washy sounding cymbals? -9 dB @ 300 Hz (roll off Low EQ -15 dB)

• Excessive hiss from guitar, bass or keyboard amp? +3 dB @ 5 kHz (High EQ
rolled off -9 dB)

• Fading vocal range (notes too low for singer)? +3 dB @ 80 Hz (Low EQ rolled off -6 dB)

• Puffing on harmonica mic? -9 dB @ 80Hz (Low EQ rolled off -12 dB)

• Rack Toms? -3 dB @ 400 Hz

• Floor tom? -6 dB @ 200 Hz

5

Generally speaking, you’ll probably end up with the Mid control in cut mode for most

problem solving uses of the Sweep control. In any case you will learn to use this feature
judiciously. The best P.A. EQ setting is the one with the least adjustment, but when you

need to solve a problem it is good to know how to use the tools.

8. Stereo Channel EQ

The VGM14’s stereo channels feature 4-band Equalization with a control range of +/-15 dB.
The High EQ is shelving at 12.5 kHz, Low EQ shelves at 80 Hz, the High Mid EQ is centered
at 3 kHz, and the Low Mid EQ is centered at 400 Hz. The 4-band Equalization was carefully
selected to help achieve the best quality of sound for line level and stereo sources.

As with the Mono Channel EQ it is best to set the channel EQ during a sound check.
It is best to minimize the amount of EQ “boost” or “cut” you add to the audio. +/-15 dB
represents a considerable level change.

9. Mon (Monitor)

The Mon (Monitor) is the audio signal sent to the stage monitors for the musicians. This
control adjusts the level of signal from each channel to the master section’s Mon fader.
The signal for the channel’s Mon control is independent of the Channel Fader (pre-fader);
adjusting the Channel Fader will not affect your monitor mix.

Note: When feedback occurs, the cause is often the audio signals from the stage moni­tors feeding back to the microphones. When this happens, the first thing to do is turn
down the master section’s MON fader, this will make sure that the monitors (and not the
main P.A.) is the cause of the feedback. If the cause is the monitors follow these steps:

A. Turn up the master section’s Mon fader until feedback is just starting.
B. Now turn down each channel’s Mon control just a little, and then return the control

back to the original position. This will help you discover which control reduced the
feedback the most.

C. With that information, reduce the level on that particular control to the point of

no feedback. By using the Mon control, you will most-likely eliminate the feedback
without affecting that channel’s level through the main P.A.

With the VGM14’s independent monitor mix, it can be beneficial to assign the internal
graphic equalizer to the Mon output and use the graphic equalizer to help control feedback.

6

Stereo

Channel

10. Aux (Auxiliary)

The Aux (Auxiliary) feature can be used to send audio for use as a 2nd Mon (Monitor), a
2nd EFX, a additional subwoofer signal, or it can be used for a separate mix to be sent to
another piece of outboard gear. The switch, located beside the Aux level control, selects

either a pre-channel fader signal or a post-channel fader signal.

• In the Pre position, the audio signal is sent to the Aux mix before the signal is sent

to the channel fader. Since the channel fader does not affect the level of this signal

you can use the Aux control as a 2nd Monitor mix.

• In the Post position, the audio signal is sent to the Aux mix after the channel fader,
this means the channel fader‘s level affects the signal set to the Aux mix. This behav­ior allows the Aux control ideal for use as a 2nd EFX mix, a separate Subwoofer signal,

or for use as a separate audio signal for a zone or other purpose.

Note: If used as a Subwoofer buss, the Aux control allows you to specify specific chan­nels, such as the bass instrument channels, optimizing a clean well defined bass sound.

11. Digital Effects (EFX)

The channel EFX controls adjust the level of signal from each channel to the EFX Send
control. The signal sent to the EFX control comes from the Channel Fader (post-fader).
Adjusting the Channel Fader will change the level of the dry signal and the EFX signal.
The signal from the EFX Send control continues to the internal effects generator and to
the EFX Send jack, for use with an external effects unit.

Alternatively, if you don’t require any effects, the signal from the EFX Send jack can
be connected to the input of an additional monitor system or another amp/speaker
system (using a standard balanced patch cord). In this case, the EFX controls act as
send controls achieving a semi-separate mix. Remember that the Channel Fader level
control also affects this signal (it’s a post-fader signal).

12. Pan Control (Mono Channels)

The Pan control routes the channel’s signal after the channel’s fader (post-fader) to the
left and right Main buss channels. Signal levels are compensated at the Pan controls
L&R extremes so that ‘panning’ during a performance will result in a minimal sound

level change in the center-field audience areas.

In audio terminology, a buss is a mix-down channel where all the signals from the
input channels are blended into one signal. The VGM14 has 5 busses: MAIN, MONI­TOR, EFFECTS, AUX (pre and post), and MEDIA OUT.

13. Balance Control (Stereo Channels)

This controls the stereo channel signal routing to the Main Fader. Similar to the
Pan Control, the Balance Control can shift the center image between the left and

right Main buss channels.

14. Mute Switch

Each channel’s Mute Switch defeats that particular channel’s left, right, and all of its

‘sends’ signals. The Mute function is a timesaving feature that enables you to mute chan-

nels without turning down the Channel Fader that's been set for performance.

It is good practice to mute all unused channels during a performance, open micro­phones increase the possibility of feedback and can make an audio mix sound muddy.

15. Clip/Mute LED

The Clip LED illuminates at 3 dB below the channel’s actual clipping level; with the Clip
LED threshold set below actual clipping level, it’s allowable to have occasional clip­light activity without worrying about distortion. As a result, you may use the Clip LED
to help adjust for proper gain with the Channel Fader control. When the Mute switch is
depressed, the Clip LED will illuminate at half–brightness to indicate the mute condi-

tion, it still flickers to indicate clipping.

16. PFL Solo Switch and LED

Each channel features a PFL Solo switch (pre-fader listen) and Solo LED. When
the Solo switch is pressed and the Solo LED illuminates, the audio before the
fader (pre-fader) of that channel is sent to the VU-meter and the headphones.
The level shown on the VU meter is independent of the Phones level control.
The VU-meter will display the audio level after the channel tone controls
but before the mute switch; this helps to verify the channel audio level. You
should set the level for 0dB on the VU-meter. The Solo audio can be heard in
the Phones to preview the audio signal before it’s mixed with the other chan-

nels. With the channel mute switch engaged, you can “cue up” audio sources
before you add them to the main mix.

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