802-
VLZ3
0
80-VLZ3
Whatever your selection, you can also use the control
room [10] outputs for other applications. Its sound
quality is just as impeccable as the main outs [16 and
17]. It can be used as additional main mix output, which
may sound silly since there are already three, but this
one has its own level control. However, should you do
something like this, be sure that you do not engage a
solo switch, as that will interrupt your source selection.
A WORD ABOUT PRE-FADER SOLO (PFL)
Engaging a channel’s solo [22] switch will cause
this dramatic turn of events: any existing control room
source selections will be replaced by the solo signal,
appearing in the control room, headphones, and in the
meter. The audible solo levels are then controlled by
the control room / submix [32] knob and phones [31]
knob. The solo levels appearing on the meter display are
not controlled by anything — you wouldn’t want that.
You want to see the actual channel level on the meter
regardless of how loud you’re listening.
“Pre-fader” solo means that the channel signal is be-
ing tapped before the channel’s level [21] knob . It does,
however, obey gain [7], low cut [5] and EQ [25–27] set-
tings, making it the perfect tool for quick inspections of
suspect channels. The channel’s pan [24] and mute/alt
3-4 [23] settings have no effect on the solo signal.
Note: for stereo channels 3-8, the solo signal is the
mono sum of the left (odd-numbered) and right (even-
numbered) signals for that channel strip.
Warning: pre-fader solo [22] taps the chan-
nel signal before the level knob. If you have a
channel’s level knob set below "U" solo won’t
know that, and will send a unity gain signal to the con-
trol room, phones and meter display, that may result in
a startling level boost at these outputs.
33. ASSIGN TO MAIN MIX
Let’s say you’re doing a live show. Intermission is near-
ing and you’ll want to play a soothing CD for the crowd
to prevent them from eating the furniture. Then you
think, “But I have the CD player plugged into the tape
inputs, and that never gets to the main outs!” Oh, but it
does. Simply engage this switch and your control room
source selection, after going through the control room /
submix [32] knob, will feed into the main mix, just as if
it were another stereo channel.
Another handy use for this switch is to enable the alt
3-4 mix to become a submix of the main mix, using the
control room/submix knob as its level control.
Side effects: (1) engaging this switch will also feed
any soloed channels into the main mix, which may be
the last thing you want. (2) If you have the main mix as
your control room source selection and then engage as-
sign to main mix, the main mix lines to the control room
will be interrupted to prevent feedback. Then again,
why would anyone want to assign the main mix to the
main mix?
34. RUDE SOLO
If you happen to forget you’re in solo, you can easily be
tricked into thinking that something is wrong with your
mixer. Hence the flashing rude solo light. This will come
on whenever a channel solo switch [22] is engaged.
It’s especially handy at about 3 a.m. when no sound is
coming out of your monitors but your multitrack is play-
ing back like mad.
35. METERS
The 802-VLZ3’s peak metering system is made up of
two columns of twelve LEDs. Deceptively simple, consid-
ering the multitude of signals that can be monitored by
it.
If nothing is selected in the source matrix and no
channels are in solo, the meters will just sit there and
do nothing. To put them to work, you must make a selec-
tion in the source matrix [30], or engage a solo switch
[22]. Why? You want the meter display to reflect what
the engineer is listening to, and as we’ve covered, the
LINE IN 7-8
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
1
PAN
LEVEL
POWER
RUDE
SOLO
LEVEL
SET
CONTROL
ROOM
SOURCE
ALT 3-4
TAPE
MAIN MIX
LEFT RIGHT
0dB=0dBu
ASSIGN
TO MAIN MIX
MAIN MIX
+12dB
O
O
+10dB
O
O
SEND
O
O
+10
802
+12dB
O
O
CTL ROOM/SUBMIX
PHONES
AUX
3
4
0
2
15
20
10
6
30
10
7
20
1
MUTE
ALT 3-4
PRE FADER
SOLO
LINE IN 5-6
MONO
BAL
OR
UNBAL
L
R
BAL
OR
UNBAL
MONO
BAL
OR
UNBAL
L
R
MONO
BAL
OR
UNBAL
L
R
L
R
ST RETURN
BAL/UNBAL
L
3
ALT OUTPUT
R
4
BAL/UNBAL
L
R
BAL/UNBAL
L
R
PRE
POST
+4
MIC
AUX
MASTER
O
O
+20
STEREO
RETURN
LOW CUT
100 Hz
18dB/OCT
GAIN
+15dB - 45dB
INSERT
LINE IN 1
LINE IN 3
LINE IN 4
MIC
1
BAL
OR
UNBAL
GAIN
+15dB - 45dB
GAIN
INSERT
LINE IN 2
MIC
2
MIC
3
X
DR2 MIC PRE
X
DR2 MIC PRE
X
DR2 MIC PRE
MAIN
OUTPUT
LEVEL
PHANTOM
POWER
CR OUTPUT
TAPE IN
TAPE OUT
L
R
L
R
PHONES
MAIN OUT BALANCED
L
R
AUX SEND
BAL/UNBAL
MAIN OUT
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
PAN
LEVEL
+12dB
O
O
AUX
MUTE
ALT 3-4
PRE FADER
SOLO
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
PAN
LEVEL
+12dB
O
O
AUX
3-4
MUTE
ALT 3-4
PRE FADER
SOLO
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
PAN
LEVEL
+12dB
+12dB
O
O
AUX
MUTE
ALT 3-4
PRE FADER
SOLO
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
PAN
LEVEL
O
O
AUX
MUTE
ALT 3-4
PRE FADER
SOLO
5-6
7-8
O
O
MAX
+15
-15
+15
-15
+15
-15
L R
U
U
U
O
O
+15
U
+15
-15
+15
-15
+15
-15
L R
U
U
U
O
O
+15
U
+15
-15
+15
-15
+15
-15
L R
U
U
U
O
O
+15
U
+15
-15
+15
-15
+15
-15
L R
U
U
U
O
O
+15
U
+15
-15
+15
-15
+15
-15
L R
U
U
U
O
O
+15
U
U
U
U
U
U
U
U
U
U
-10
dBV
M
IC GAIN
0
U
60
-10
dBV
M
IC GAIN
0
U
60
M
IC GAIN
0
60
2
POWER
ON
POWER
802
29
32
31
33
30
39
36
37
38
35
34
