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Mackie VLZ4, Owner'S Manual

The Mackie VLZ4 is a versatile and high-quality audio mixer perfect for any sound setup. Ensure you get the most out of your mixer by downloading the free Owner's Manual from 88.208.23.73:8080. This comprehensive manual will guide you through all the features and functions of your new mixer.

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19

Owner’s Manual

31. High EQ

The high EQ provides up to 

15 dB of boost or cut above 
12 kHz, and it is also flat (no 
boost or cut) at the detent. 
Use it to add sizzle to cymbals, 

an overall sense of  

transparency, or an edge to 
keyboards, vocals, guitar and bacon frying. Turn it down 
a little to reduce sibilance or to mask tape hiss.

32. Mid EQ And 33. Freq (Mono Channels Only)

The mono channels employ 

a semi-parametric mid-sweep 
EQ. The gain (up to 15 dB of 
boost or cut) is set via the mid 
eq [32], and then “aimed” at a 
specific frequency, from    
100 Hz to 8 kHz, via freq [33].

34. Low EQ

The low EQ provides up to 

15 dB of boost or cut below 
80 Hz. The circuit is flat at 
the center detent position. 
This frequency represents the 
punch in bass drums, bass 
guitar, fat synth patches, and 
some really serious male singers who eat raw beef for 

breakfast.

35. High Mid EQ Level (Stereo Channels Only)

The high mid EQ provides 

up to 15 dB of boost or cut 
at 2.5 kHz, and it is flat at 
the detent. Midrange EQ is 
often thought of as the most 
dynamic because the  
frequencies that define any 
particular sound are almost always found within this 
range. For example, the female vocal range as well 
as the fundamentals and harmonics of many  

 

higher-timbred instruments.

36. Low Mid EQ Level (Stereo Channels Only)

The low mid EQ provides up 

to 15 dB of boost or cut at  
400 Hz, and is flat at the 
detent. Frequencies affected 
typically include the male 

vocal range as well as the 

fundamentals and harmonics 
of many lower-timbred instruments.

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

20

Hz

100

Hz

1k

Hz

10k

Hz

20k

Hz

–15

–10

–5

0

+5

+10

+15

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

PAN

L

R

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

MID

200

2k

800

100

8k

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

FREQ

1

MUTE

PAN

L

R

2

MUTE

PAN

L

R

3

MUTE

PAN

L

R

4

MUTE

PAN

L

R

5

MUTE

PAN

L

R

6

MUTE

PAN

L

R

7

MUTE

PAN

L

R

8

MUTE

PAN

L

R

9

MUTE

PAN

L

R

10

MUTE

PAN

L

R

11

MUTE

PAN

L

R

12

MUTE

PAN

L

R

13

MUTE

PAN

L

R

14

MUTE

PAN

L

R

15

MUTE

PAN

L

R

16

MUTE

 PAD

-20dB

1

LOW CUT

100 Hz

GAIN

 PAD

-20dB

2

LOW CUT

100 Hz

GAIN

 PAD

-20dB

3

LOW CUT

100 Hz

GAIN

 PAD

-20dB

4

LOW CUT

100 Hz

GAIN

 PAD

-20dB

5

LOW CUT

100 Hz

GAIN

 PAD

-20dB

6

LOW CUT

100 Hz

GAIN

 PAD

-20dB

7

LOW CUT

100 Hz

GAIN

 PAD

-20dB

8

LOW CUT

100 Hz

GAIN

 PAD

-20dB

9

LOW CUT

100 Hz

GAIN

 PAD

-20dB

10

LOW CUT

100 Hz

GAIN

 PAD

-20dB

11

LOW CUT

100 Hz

GAIN

 PAD

-20dB

12

LOW CUT

100 Hz

GAIN

 PAD

-20dB

13

LOW CUT

100 Hz

GAIN

 PAD

-20dB

14

LOW CUT

100 Hz

GAIN

 PAD

-20dB

15

LOW CUT

100 Hz

GAIN

 PAD

-20dB

16

LOW CUT

100 Hz

GAIN

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

1

2

SUBGROUPS

PUSH

TO TALK

MAIN

RIGHT

AUX 1-4

SOLO

STEREO

LEFT

RIGHT

SOLO

LEFT

RIGHT

SOLO

STEREO

LEFT

RIGHT

SOLO

LEFT

1

2

3

4

MAIN MIX

TALKBACK

OFF

MAX

COMP

OFF

MAX

COMP

OFF

MAX

COMP

OFF

MAX

COMP

LEVEL

PHONES

TO AUX 1

TO AUX 2

SOLO

MONITOR

TAP

DELAY

MUTE

TO AUX 1

TO AUX 2

TAP

DELAY

MUTE

FX MASTER

FX MASTER

TO LR

TO LR

FX

2

SIG/OL

FX

1

SIG/OL

SOLO

SOLO

1

2

3

4

SOLO

SOLO MODE

SOLO

SOLO

SOLO

SOLO

SOLO

PFL

AFL

AUX

AUX

AUX

AUX

CH 1-2

CH 3-4

AUX 5-6

PWR

RUDE SOLO

48V

USB OUT

SUBS 3-4

20

10

7

4

2

0

2

4

7

10

20

30

LEVEL

SET

SUBS 1-2

MAIN

TO LR

TAPE

USB

2-TRACK RETURN

SUCK

SOLO

12V

0.5A

OFF

MAX

COMP

OFF

MAX

COMP

OFF

MAX

COMP

OFF

MAX

COMP

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

FX 1

FX 2

USB

21

22

23

24

HI

12k

HI

MID

2.5k

LOW

MID

400Hz

HI

MID

2.5k

-15

+15

U

-15

+15

U

-15

+15

U

-15

+15

U

LOW

80Hz

LOW

MID

400Hz

LOW

80Hz

-15

+15

U

HI

12k

2

3

4

5

6

1

+15

U

+15

U

+20

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

+15

U

-15

+15

U

-15

+15

U

-15

+15

U

-20

+20

U

-20

+20

U

AUX MASTER

LR

STEREO RETURNS

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

FREQ

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

FREQ

MID

200

2k

800

100

8k

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

FREQ

MID

200

2k

800

100

8k

EQ

EQ

EQ

HI

12k

-15

+15

U

-15

+15

U

LOW

80Hz

-15

+15

U

FREQ

MID

200

2k

800

100

8k

PAN

L

R

17

MUTE

PAN

L

R

18

MUTE

PAN

L

R

19

MUTE

PAN

L

R

20

MUTE

BAL

L

R

21/22

MUTE

ALT 3-4

BAL

L

R

0 dB=0 dBu

LEFT RIGHT

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

1-2

3-4

LR

OL

-20

30

20

10

10

40
50

5

5

U

60

dB

O

O

SOLO

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

FX

AUX 5/6

PRE

PRE

FX1

FX2

PRE

1

2

+15

U

AUX

+15

U

3

4

5

6

+15

U

+15

U

+15

U

+15

U

23/24

MUTE

ALT 3-4

30

20

10

10

40
50

5

5

U

60

dB

O

O

30

20

10

10

40
50

5

5

U

60

dB

O

O

30

20

10

10

40
50

5

5

U

60

dB

O

O

30

20

10

10

40
50

5

5

U

60

dB

O

O

30

20

10

10

40
50

5

5

U

60

dB

O

O

30

20

10

10

40
50

5

5

U

60

dB

O

O

17

GAIN

18

GAIN

19

GAIN

20

GAIN

LINE GAIN

LINE GAIN

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

30

-20dB

+40dB

U

60

U

40

20

50%

100%

0%

25%

75%

Stereo channel

27

28

29

31

35

36

34

37

43

30

38

41

42

39
40

37. Pan

This control allows you to adjust 

how much of the channel signal 
is sent to the left versus the right 
outputs.

With the knob panned hard left, 

the signal feeds the main left,  

group 1, or group 3 busses,  
depending on the setting of the 

 

assign switches [42]. With the knob 

panned hard right, the signal feeds 
the main right, group 2, or group 4 
busses, again dependent on the 

 

setting of the assign switches [42].

The balance control employs a 

 

design called “Constant Loudness.” 
If you have a channel panned hard 
left (or right) and then pan to the 
center, the signal is attenuated 
about 3 dB to maintain the same 

 

apparent loudness. Otherwise, it 
would make the sound appear much 
louder when panned center. This 
control is properly called “BAL” for 

balance in the stereo channels.

38. Mute

Mute switches do just what they 

sound like they do. They turn off the 
signal by “routing” it into oblivion. 
Engaging a channel's mute switch 
(almost) provides the same results 
as turning the fader all the way 
down (a pre-aux send is not affected 
by the channel fader, but it is by 

 

the mute switch). Any channel 

 

assignments to main mix, group 1-2, 
or group 3-4 will be interrupted and 
all of the aux sends will be silenced 
(both pre- and post-fader). The 
channel insert [3] will continue to 
provide a signal when a channel 

 

is muted. The OL LED [39] will 
illuminate when a channel's mute 

switch is engaged.

39. OL LED

This LED indicates the channel’s 

signal level after the gain and EQ 
controls, but just before the  
channel’s level. So even if the level 
is turned down, you can see if the 

channel is being overloaded. 

Summary of Contents for VLZ4

Page 1: ...4 3 3 3 2 2 2 1 1 1 21 21 22 22 23 23 24 24 25 25 26 26 27 27 28 28 ONYX MIC PREAMPS LINE BAL UNBAL INSERTS TIP SEND RING RETURN LINE BAL UNBAL INSERTS TIP SEND RING RETURN ONYX MIC PREAMPS UNBALANCE...

Page 2: ...rence regulations of the Canadian Department of Communications ATTENTION Le pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils num riques d...

Page 3: ...equency 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...

Page 4: ...5 6 Convenient stereo return to mains for music playback or return to channel to implement EQ auxes and more PFL AFL solo modes 60mm long wearing log taper faders High resolution 12 segment stereo me...

Page 5: ...upporttofind FAQs manualsandotherusefulinformation Emailusat techmail loudtechinc com Telephone1 800 898 3211tospeakwithoneofoursplendidtechnicalsupportchaps MondaythroughFriday normalbusinesshours Pa...

Page 6: ...x level and monitor level when making connections to the mixer Better yet turn off the power When shutting down turn off any power amplifiers or powered speakers first When powering up turn them on la...

Page 7: ...AL UNBAL 21 22 23 24 BAL UNBAL BAL UNBAL MONITOR MONO MONITOR L R 100 240 V 50 60 Hz 55W TALKBACK MIC RIGHT MAIN OUT INSERT LINE LEFT MAIN OUT INSERT LINE MONO MAIN OUT INSERT LINE LEVEL OUTPUT L USB...

Page 8: ...through a pair of MR8mk3 s and nod their collective heads to the beat POWER ON PHANTOM ON 3 2 1 2 1 2 1 6 5 4 3 2 1 6 5 4 3 2 1 4 SUBGROUP OUTS BAL UNBAL SUBGROUP INSERTS TIP SEND RINGRETURN AUX INSER...

Page 9: ...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...

Page 10: ...annel 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 ou...

Page 11: ...nserts 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 t...

Page 12: ...e 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 ch...

Page 13: ...is set to L and subgroup 2 is set to R Any adjustments made to the subgroup drum levels during the show only pertain to the live show itself recording levels are not adjusted in the DAW unless they a...

Page 14: ...o 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 know for certain it is safe to do so Be sure the main level 75...

Page 15: ...15 15 U 15 15 U 20 20 U 20 20 U AUXMASTER LR STEREO RETURNS EQ HI 12k 15 15 U 15 15 U LOW 80Hz 15 15 U FREQ MID 200 2k 800 100 8k EQ HI 12k 15 15 U 15 15 U LOW 80Hz 15 15 U FREQ MID 200 2k 800 100 8k...

Page 16: ...Applying low cut removes all those problems so you can add low EQ without blowing your subwoofers 25 Pad 20 dB Switch In most cases the pad switch will be disengaged However microphones and balanced...

Page 17: ...e chance of distortion due to overloading the input signals Dynamic range is the difference in level between the quietest and loudest parts of a song A compressor squeezes the dynamic range resulting...

Page 18: ...ts or cuts all frequencies past the specified frequency For example the low EQ boosts bass frequencies below 80 Hz and continuing down to the lowest note you never heard Peaking means that certain fre...

Page 19: ...5 U 15 15 U 15 15 U 15 15 U AUXMASTER EQ HI 12k 15 15 U 15 15 U LOW 80Hz 15 15 U FREQ MID 200 2k 800 100 8k EQ HI 12k 15 15 U 15 15 U LOW 80Hz 15 15 U FREQ MID 200 2k 800 100 8k EQ HI 12k 15 15 U 15 1...

Page 20: ...37 they are used to determine the destination of the channel s signal With the pan knob at the center detent the left and right sides receive equal signal levels main mix L R group 1 2 and group 3 4...

Page 21: ...four signals may be recorded simultaneously and a stereo mix returned to the mixer for playback The six auxes receive signals from the channels via the channel aux sends 27 29 Auxes 1 4 may also be f...

Page 22: ...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 thi...

Page 23: ...ase forgive its rudeness it is only trying to help and wants to be your friend 60 Solo Mode Engaging a channel s solo switch 41 will cause this dramatic turn of events Any existing source selection is...

Page 24: ...1 to aux 2 and to main knobs 62 fully counter clockwise to avoid double bussing The talkback feature allows the engineer to communicate with the talent either through the phones output 17 or the aux 1...

Page 25: ...1 Wrm 300ms 7 Warm Theater 19 Delay 2 Brt 250ms 8 Bright Stage 20 Delay 2 Wrm 200ms 9 Warm Hall 21 Delay 3 Brt 175ms 10 Concert Hall 22 Delay 3 Wrm 150ms 11 Cathedral 23 Chorus Dly 300ms 12 Gated Reve...

Page 26: ...e is no need to hold down the switch es when using the talkback feature Simply engage the switch es and begin talking But don t forget to disengage the switch when you re done talking to them or they...

Page 27: ...for example make sure that both group faders ride together to maintain the left right balance 75 Main Mix This stereo fader allows you to adjust the levels of the main mix signals sent to the XLR and...

Page 28: ...ise Turn the channel gains down one by one If the sound disappears it s either that channel or whatever is plugged into it so unplug whatever that is If the noise disappears it s from your whatever Po...

Page 29: ...two mic preamps 2 1 SHIELD COLD HOT 3 SHIELD COLD HOT 3 2 1 Balanced XLR Output Connector SLEEVE TIP SLEEVE TIP RING RING TIP SLEEVE RING Balanced 1 4 TRS Connector You can cook up your own adapter fo...

Page 30: ...ll not activate the jack switch and will not open the insert loop in the circuit thereby allowing the channel signal to continue on its merry way through the mixer This allows you to tap out the chann...

Page 31: ...15 dB sweep 100 Hz 8 kHz High 15 dB 12 kHz Low Cut Filter 18 dB octave 3 dB 100 Hz 4 Band Equalization stereo channels Low 15 dB 80 Hz Low Mid 15 dB 400 Hz High Mid 15 dB 2 5 kHz High 15 dB 12 kHz USB...

Page 32: ...ch LED To Aux 2 Aux 6 Aux 3 Aux 4 Aux 5 Aux 6 Aux 1 Aux 2 HPF In bypass MID Phantom Power To All Mics Phantom Power L R Int FX 1 Out L FX 1 Line LO MID MID 80 400 2 5K 12K HI LO MID MID 80 400 2 5K 12...

Page 33: ...ect Aux 1 Level Preset select FX Preset Display 1 2 Solo Logic Solo USB Out FX 1 Bypass Logic In FX 1 Out L Out R R L Tap FX Mute Active L R Tape Out Main level Aux 3 pre post Aux 4 pre post 3 4 Aux 3...

Page 34: ...5 5 U 60 dB OO SOLO 1 2 3 4 LR OL 20 30 20 10 10 40 50 5 5 U 60 dB OO SOLO 1 2 3 4 LR OL 20 30 20 10 10 40 50 5 5 U 60 dB OO SOLO 1 2 3 4 LR OL 20 30 20 10 10 40 50 5 5 U 60 dB OO SOLO 1 2 3 4 LR OL 2...

Page 35: ...15 15 U FREQ MID 200 2k 800 100 8k EQ HI 12k 15 15 U 15 15 U LOW 80Hz 15 15 U FREQ MID 200 2k 800 100 8k EQ HI 12k 15 15 U 15 15 U LOW 80Hz 15 15 U FREQ MID 200 2k 800 100 8k EQ EQ EQ HI 12k 15 15 U...

Page 36: ...4 Bus Dimensions 6 U 6 0 in 153 mm 1 8 in 46 mm 29 4 in 748 mm 19 1 in 486 mm 6 0 in 153 mm WEIGHT 31 0 lb 14 1kg 6 0 in 153 mm 1 8 in 46 mm 38 0 in 964 mm 19 1 in 486 mm 6 0 in 153 mm WEIGHT 39 0 lb...

Page 37: ...tch to the right will select either Groups 3 4 or Aux 5 6 to feed USB output channels 3 4 For example with both USB ouput switches in the default position up true 4 track recording may be accomplished...

Page 38: ...eflections that would be found in a very large stone walled house of worship Gives amazing depth to choirs wind instruments organs and soft acoustic guitars 12 Gated Reverb This preset incorporates an...

Page 39: ...vice representative will at its option either repair or replace any such nonconforming product provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at www...

Page 40: ...16220 Wood Red Road NE Woodinville WA 98072 USA Phone 425 487 4333 Toll free 800 898 3211 Fax 425 487 4337 www 720trees com...

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