Download Mackie VLZ3 4BUS DJ Equipment User Manual

2
INSERT
1
1
OO
OO
OO
OO
OO
OO
+15
8k
dB
OO
40
50
60
30
20
10
5
U
5
10
1
HI
12k
SIG
L/R
3-4
1-2
SOLO
3-4
L/R
OO
40
50
60
30
OO
40
50
60
30
10
20
1-2
5
U
20
10
SOLO
5
5
U
SIG
dB
U
U
8k
3
MUTE
L
R
-15 +15
100
-15 +15
800
-15 +15
U
PAN
5
OL
LOW
80Hz
200
10
2
R
MID
FREQ
2k
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
10
dB
8k
MUTE
L
MUTE
U
-15 +15
100
-15 +15
800
PAN
OL
LOW
80Hz
200
U
-15 +15
U
EQ
L
R
FREQ
2k
+15
+15
U
U
PRE
+15
+15
U
+15
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
PAN
-15 +15
U
-15 +15
800
100
200
U
-15 +15
U
EQ
MID
6
+15
U
FX2
5
FX1
4
3
U
PRE
+15
+15
U
+15
U
PRE
+15
U
2
+15
U
OO
1
PRE
AUX
U
1
PRE
AUX
INT FX
AUX 5/6
FX2
6
FX1
5
4
3
PRE
2
PRE
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
MID
HI
12k
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
PAD
-20dB
PAD
-20dB
AUX
LOW CUT
100 Hz
18dB/OCT
LOW CUT
100 Hz
18dB/OCT
HI
12k
INSERT
0
60
+15dB -45dB
INSERT
0
60
+15dB -45dB
dB
5
OO
40
50
60
30
20
10
5
8k
4
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
4
MID
HI
12k
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
-10 dBV
C GAIN
MI
FREQ
INSERT
U
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
5
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
5
MID
HI
12k
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
INSERT
GAIN
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
6
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
MID
HI
12k
6
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
INSERT
3
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
7
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
7
MID
HI
12k
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
INSERT
-10 dBV
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
8
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
MID
HI
12k
8
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
INSERT
3
9
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
9
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
MID
HI
12k
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
10
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
MID
HI
12k
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
10
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
11
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
MID
HI
12k
11
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
12
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
MID
HI
12k
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
12
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
13
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
MID
HI
12k
13
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
14
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
MID
HI
12k
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
14
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
15
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
MID
HI
12k
FREQ
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
15
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
16
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
PAD
-20dB
LOW CUT
100 Hz
18dB/OCT
FREQ
MID
HI
12k
16
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
0
60
+15dB -45dB
U
GAIN
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
17
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
U
MID
HI
12k
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
FREQ
MAX
COMP
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
OFF
LOW CUT
100 Hz
18dB/OCT
0
60
+15dB -45dB
U
GAIN
17
INSERT
4
INSERT
11
5
INSERT
6
INSERT
13
7
INSERT
8
INSERT
9
INSERT
16
10
INSERT
12
INSERT
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
18
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
U
MID
HI
12k
18
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
FREQ
MAX
COMP
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
OFF
LOW CUT
100 Hz
18dB/OCT
0
60
+15dB -45dB
U
GAIN
18
14
INSERT
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
19
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
U
MID
HI
12k
19
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
FREQ
MAX
COMP
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
OFF
LOW CUT
100 Hz
18dB/OCT
0
60
+15dB -45dB
U
GAIN
19
15
INSERT
-10 dBV
C GAIN
MI
dB
5
OO
40
50
60
30
20
10
5
8k
20
MUTE
L
R
-15 +15
U
-15 +15
800
PAN
10
U
-15 +15
U
100
200
U
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
U
MID
HI
12k
20
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
2k
FREQ
MAX
COMP
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
OFF
LOW CUT
100 Hz
18dB/OCT
0
60
+15dB -45dB
U
GAIN
20
17
INSERT
C GAIN
MI
21/22
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
FX 1
+20
R
dB
OO
40
50
60
30
20
10
5
U
5
10
MUTE
L
21/22
BAL
-15 +15
-15 +15
U
-15 +15
U
-15 +15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
1
PRE
AUX
-20
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
LOW
MID
400Hz
HI
MID
2.5k
HI
12k
21/22
U
GAIN
(BAL/UNBAL)
U
L
(MONO)
GAIN
+15
+15
U
U
PRE
+15
+15
U
+15
U
+15
U
U
USB
FX 2
+20
R
dB
OO
40
50
60
30
20
10
5
U
5
10
MUTE
L
23/24
BAL
-15 +15
-15 +15
U
-15 +15
U
-15 +15
U
U
INT FX
AUX 5/6
OO
OO
OO
OO
OO
OO
EQ
6
FX1
FX2
5
4
3
2
PRE
PRE
1
AUX
-20
L/R
3-4
1-2
SOLO
SIG
OL
LOW
80Hz
LOW
MID
400Hz
HI
MID
2.5k
HI
12k
23/24
U
GAIN
23/24
(BAL/UNBAL)
LINE IN
MIC 1
2 MIC PR
E
XDR
(BAL/UNBAL)
LINE IN
MIC 2
2 MIC PR
E
XDR
(BAL/UNBAL)
LINE IN
MIC 3
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 4
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 5
2 MIC PR
E
XDR
(BAL/UNBAL)
LINE IN
MIC 6
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 7
2 MIC PR
E
XDR
(BAL/UNBAL)
LINE IN
MIC 8
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 9
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 10
2 MIC PR
E
XDR
(BAL/UNBAL)
LINE IN
MIC 11
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
LINE IN
MIC 13
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
LINE IN
2 MIC PR
E
XDR
LINE IN
MIC 16
(BAL/UNBAL)
LINE IN
2 MIC PR
E
XDR
LINE IN
MIC 18
(BAL/UNBAL)
LINE IN
MIC 19
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 12
REVISION
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
2 MIC PR
E
XDR
MIC 14
SERIAL NUMBER
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
(BAL/UNBAL)
2404
2 MIC PR
E
XDR
USB
(BAL/UNBAL)
OUT
2 MIC PR
E
XDR
MIC 15
L
TAPE
(BAL/UNBAL)
IN
2 MIC PR
E
XDR
MIC 17
OUTPUT
(BAL/UNBAL)
MAIN OUT
2 MIC PR
E
XDR
MONO
LINE
(BAL/UNBAL)
MIC 20
INSERT
2
U
+15
+15
U
+15
U
+15
U
+15
U
+15
U
U
0%
25%
SOLO
dB
OO
40
50
60
30
20
10
5
U
5
10
1
RIGHT
LEFT
SOLO
75%
100%
SIG/OL
U
U
U
dB
OO
40
50
60
30
20
10
5
U
5
10
2
RIGHT
LEFT
SOLO
1
+15
+15
U
+15
U
+15
U
+15
U
U
GRP 1-2
MAIN L/R
GRP 3-4
AUX 5-6
CH 3-4
U
MAIN
AUX
4
AUX
3
AUX
2
AUX
1
INT FX
MUTE
TAP
DELAY
2
+15
+15
U
+15
U
+15
U
+15
U
U
SIG/OL
FX 2
U
U
dB
OO
40
50
60
30
20
10
5
U
5
10
3
RIGHT
LEFT
SOLO
dB
OO
40
50
60
30
20
10
5
U
5
10
4
RIGHT
LEFT
SOLO
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
MAX
TO MAIN
OO
OO MAX
TO AUX 2
U
MAX
TO AUX 1
OO
SOLO
OO
OO
OO
OO
OO
LEVEL
SET
2404
USB OUT
OO MAX
SEND MASTER
SOLO
OO
OO
OO
OO
OO
GROUPS
MAX
TO MAIN
OO
OO MAX
TO AUX 2
CH 1-2
STEREO RETURNS
TAPE
USB
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
INT FX
MUTE
TAP
DELAY
50%
SUCK
OO MAX
TO AUX 1
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
FX 1
OO MAX
SEND MASTER
OO
6
OO
5
OO
OO
4
3
OO
2
12V
0.5A
2-TRACK RETURN
AUX MASTERS
OO
1
U
+20
TO MAIN
OO
1
R
1
MAIN OUT
-10 dBV
GROUP INSERTS
2
L
(BAL/UNBAL)
STEREO RETURNS
LEFT
LINE
R
C GAIN
MI
(BAL/UNBAL)
GROUP OUTS
(TIP=SEND, RING=RETURN)
1
2
INSERT
+6
LEVEL
OO
U
3
2
1
R
(MONO)
MAIN OUT
(BAL/UNBAL)
GAIN
4
3
MONITOR
L
4
2
1
RIGHT
LINE
TIP=SEND
RING=RETURN
1
3
AUX INSERTS
(TIP=SEND, RING=RETURN)
2
INSERT
(BAL/UNBAL)
-10 dBV
3
(BAL/UNBAL)
AUX SENDS
R
4
4
TALKBACK
MIC
TIP=SEND
RING=RETURN
C GAIN
MI
PWR
U
U
U
OO
40
50
60
30
20
10
5
U
5
10
dB
MAIN MIX
MAIN
AUX 1-4
PUSH
TO TALK
MAX
LEVEL
OO
TALKBACK
MAX
PHONES
OO
OO MAX
MONITOR
U
MAX
SOLO
OO
PFL
AFL
SOLO MODE
RUDE SOLO
0 dB=0 dBu
30
20
10
7
4
2
0
2
4
7
10
20
LEFT RIGHT
MAIN
MIX
48V
PHONES
(MONO)
MONITOR
5
5
PHANTOM
ON
(BAL/UNBAL)
U
6
6
POWER
ON
TIP=SEND
RING=RETURN
GAIN
VLZ3 4•Bus
24/32-Channel Premium FX Mixer with USB
OWNER’S MANUAL
Important Safety Instructions
1.
2.
3.
4.
5.
6.
7.
Read these instructions. Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
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.
PORTABLE CART
13. Use only with a cart, stand, tripod, bracket, or
WARNING
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.
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 PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the
user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil.
2 VLZ3 4•Bus
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
6
4
3
2
1.5
1
Sound Level
dBA, Slow
Response
90
92
95
97
100
102
105
0.5
110
0.25 or less 115
Typical Example
Duo in small club
Subway Train
Very loud classical music
Johnny Boy screaming at Troy about
deadlines
Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
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.
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.
Setup
2. For one channel, press the solo switch in, and
the rude solo light will turn on.
Use the mixer in a nice clean and dry environment,
free from dryer lint and dust bunnies.
3. Play something into that input at real-world
levels.
Zero the controls
4. Adjust that channel's gain control until the
right main meter stays around the 0 dB LED
(marked "level set").
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 any 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.
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!
Part No. SW0844 Rev. A 06/10
©2010 LOUD Technologies Inc. All Rights Reserved.
Loosely based on a dream involving strong personalities and even stronger
drinks...wait, that wasn't a dream?
Owner's Manual 3
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.
4 VLZ3 4•Bus
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!
Features
How To Use This Manual
• Proven VLZ3 low-noise, high-headroom design
• Studio grade XDR2 mic preamps
• 130dB dynamic range
• Distortion under 0.0007% (20 Hz - 20 kHz)
• Phantom power for studio condenser mics
™
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
• 4 subgroups, each with dedicated compressors
for total dynamic control
• Channel Controls
• 2-Track, USB, Aux Masters, Meters
• Dedicated in-line channel compression for critical inputs
• 3-band active EQ with carefully selected frequency ranges for maximum flexibility
• Dual 32-bit RMFX+ processors featuring 24
"gig ready" effects including reverb, delay, and
chorus
™
• 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 infor­mation that is critically
­important or unique to the mixer. For your own
good, read them and remember them.
• 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
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.
• 6 aux sends with inserts, 1-2 pre, 3-4 pre/post
switchable, 5-6 switchable to internal effects
Appendices
• 18dB/oct 100 Hz low cut filter available on
every mic input
Appendix A: Service Information
• Troubleshooting
• Repair
• 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
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
• Specifications
• Dimensions
• Block Diagram
• Track Sheet
Appendix D: USB and you... sb
Appendix E: Table of Effects Presets
Owner's Manual 5
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
6 VLZ3 4•Bus
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
Hookup Diagrams
desTROYer
on six-string
Francis
on bass
Turntables with phono-level output
Dustin
on drums
DI
Box
Brian on
lead vox
Mackie d.2 Pro
DJ Production Console
MAIN OUT
BOOTH
FX
PGM 2
PGM 1
MIC
Headphones
Chris
on keys
Mackie HR824mk2
Powered Reference
Monitors L/R
MONITOR
PHONES
23/24
GROUP INSERTS
L
4
3
R
4
3
2
20
21/22
1
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
Laptop
Computer
with audio
production
software
1
L
GROUP OUTS
MONITOR
2
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
1
R
AUX INSERTS
6
5
4
6
5
4
3
STEREO RETURNS
2
1
2
1
2
1
L
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 IN
LINE IN
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
AUX SENDS
3
R
POWER
ON
PHANTOM
ON
RIGHT
TALKBACK
MIC
INSERT
LINE
LEFT
MAIN OUT
INSERT
LINE
MONO
MAIN OUT
INSERT
MAIN OUT
LINE
IN
TAPE
L
OUT
USB
OUTPUT
2404
WARNING:
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
+6
LEVEL
R
Monitor EQ
(Aux Inserts 1-4)
SRM150
Powered Monitor
for keyboard player
(Aux Send 5)
HD1531
Powered
Speaker
HD1531
Powered
Speaker
HD1801
Powered
Subwoofer
HD1801
Powered
Subwoofer
Mackie SRM450v2 Powered Speakers
for Stage Monitors (Aux Sends 1-4)
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®, mp3s, or other pre-recorded audio) may be played back from the
laptop, as well. These can enter as either a source for the monitor and phones, or any available channels.
Typical Live Sound System
Owner's Manual 7
Amplifier
modeler
desTROYer
on six-string
Mackie HR824mk2
Powered Reference
Monitors L/R
Francis
on bass
Chris
on keys
Dustin
on drums
DI
Box
Headphones
Brian on
lead vox
Headphone Amp
MONITOR
PHONES
23/24
GROUP INSERTS
L
4
3
R
4
3
2
20
21/22
1
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
L
GROUP OUTS
MONITOR
2
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
1
R
AUX INSERTS
6
5
4
6
5
4
3
STEREO RETURNS
2
1
2
1
2
1
L
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 IN
LINE IN
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
Laptop
Computer
with audio
production
software
AUX SENDS
3
R
POWER
ON
PHANTOM
ON
RIGHT
TALKBACK
MIC
INSERT
LINE
LEFT
MAIN OUT
INSERT
LINE
MONO
MAIN OUT
INSERT
LINE
MAIN OUT
IN
TAPE
L
OUTPUT
OUT
USB
2404
WARNING:
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
+6
LEVEL
R
Once the band has played a few shows and feel that the songs are up to par, then it's time to record
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: first, 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
8 VLZ3 4•Bus
VLZ3 4•Bus Features
MONITOR
PHONES
17
16
14
13
15
MONITOR
(MONO)
4
3
5
12
11
2
1
4
3
4
(TIP=SEND, RING=RETURN)
3
(BAL/UNBAL)
2
2
(BAL/UNBAL)
3
17
16
15
14
13
12
11
10
9
8
4
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
LINE IN
STEREO RETURNS
1
2
(BAL/UNBAL)
5
1
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
2
1
PHANTOM
ON
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
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
2 MIC PR
E
XDR
20 21
RIGHT
TALKBACK
MIC
22
19
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
LEFT
MAIN OUT
7
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
7
MONO
MAIN OUT
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
9
MAIN OUT
IN
TAPE
L
2 MIC PR
E
XDR
OUT
OUTPUT
10
6
R
1. MIC INPUTS
PHANTOM POWER
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.
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.
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 e­ xactly the same reason: This
kind of circuit is­­excellent 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.
USB
18
+6
LEVEL
OO
Rear Panel - Connections
LINE IN
(BAL/UNBAL)
2 MIC PR
E
XDR
Phantom power may be selected by pressing up on the mixer's phantom [21] switch.
Never plug ­­single-ended (unbalanced) micro­phones, 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, u­ nless 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
Owner's Manual 9
7
INSERT
MIC 20
R
POWER
ON
3
2
(BAL/UNBAL)
(MONO)
(BAL/UNBAL)
4
18
(MONO)
1
AUX SENDS
5
19
L
L
6
20
21/22
(BAL/UNBAL)
GROUP OUTS
R
AUX INSERTS
6
23/24
GROUP INSERTS
(TIP=SEND, RING=RETURN)
L
2 MIC PR
E
XDR
1
MONITOR
PHONES
17
16
14
13
15
MONITOR
(MONO)
R
4
5
12
11
3
2
4
(BAL/UNBAL)
3
2
(TIP=SEND, RING=RETURN)
3
2
(BAL/UNBAL)
4
17
16
15
14
13
12
11
10
9
8
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
2
(BAL/UNBAL)
5
LINE IN
LINE IN
STEREO RETURNS
1
1
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
MIC 20
MIC 19
MIC 18
MIC 17
MIC 16
MIC 15
MIC 14
MIC 13
MIC 12
MIC 11
MIC 10
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 9
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 8
2 MIC PR
E
XDR
(MONO)
(BAL/UNBAL)
4
18
(MONO)
1
AUX SENDS
5
19
L
L
6
20
21/22
(BAL/UNBAL)
1
GROUP OUTS
4
AUX INSERTS
6
23/24
GROUP INSERTS
(TIP=SEND, RING=RETURN)
L
3
2
1
R
POWER
ON
PHANTOM
ON
22
20 21
RIGHT
TALKBACK
MIC
19
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
LEFT
MAIN OUT
7
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
7
MONO
MAIN OUT
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
MAIN OUT
9
IN
TAPE
L
OUT
OUTPUT
18
+6
LEVEL
OO
10
6
R
3.INSERT
5. STEREO RETURNS 1-2
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:
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.
tip
ring
SEND to processor
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
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.
10 VLZ3 4•Bus
USB
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® dock, or other line-level source.
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.
3
2
7
INSERT
LINE IN
(BAL/UNBAL)
MIC 7
2 MIC PR
E
XDR
1
MONITOR
PHONES
17
16
14
13
15
MONITOR
(MONO)
R
4
3
5
12
11
2
1
3
4
(TIP=SEND, RING=RETURN)
3
(BAL/UNBAL)
2
4
1
3
17
16
15
14
13
12
11
10
9
8
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
LINE IN
STEREO RETURNS
2
1
2
(BAL/UNBAL)
5
1
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
MIC 20
MIC 19
MIC 18
MIC 17
MIC 16
MIC 15
MIC 14
MIC 13
MIC 12
MIC 11
MIC 10
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 9
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 8
2 MIC PR
E
XDR
(MONO)
(BAL/UNBAL)
4
18
(MONO)
(BAL/UNBAL)
AUX SENDS
5
19
L
L
6
20
21/22
(BAL/UNBAL)
GROUP OUTS
4
AUX INSERTS
6
23/24
GROUP INSERTS
(TIP=SEND, RING=RETURN)
L
2
1
R
POWER
ON
PHANTOM
ON
22
20 21
RIGHT
TALKBACK
MIC
19
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
LEFT
MAIN OUT
7
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
7
MONO
MAIN OUT
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
9
MAIN OUT
IN
TAPE
L
OUT
OUTPUT
18
+6
LEVEL
OO
10
6
R
7. LEFT/RIGHT MAIN OUTPUTS: XLR & 1/4"
11. GROUP OUTS 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.
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.
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.
USB
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).
Owner's Manual 11
3
2
7
INSERT
LINE IN
(BAL/UNBAL)
MIC 7
2 MIC PR
E
XDR
1
MONITOR
PHONES
17
16
14
13
15
MONITOR
(MONO)
R
4
3
5
12
11
2
1
3
4
(TIP=SEND, RING=RETURN)
3
(BAL/UNBAL)
2
4
1
3
17
16
15
14
13
12
11
10
9
8
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
LINE IN
STEREO RETURNS
2
1
(BAL/UNBAL)
2
5
1
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
MIC 20
MIC 19
MIC 18
MIC 17
MIC 16
MIC 15
MIC 14
MIC 13
MIC 12
MIC 11
MIC 10
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 9
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 8
2 MIC PR
E
XDR
(MONO)
(BAL/UNBAL)
4
18
(MONO)
(BAL/UNBAL)
AUX SENDS
5
19
L
L
6
20
21/22
(BAL/UNBAL)
GROUP OUTS
4
AUX INSERTS
6
23/24
GROUP INSERTS
(TIP=SEND, RING=RETURN)
L
2
1
R
POWER
ON
PHANTOM
ON
RIGHT
TALKBACK
MIC
22
20 21
19
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
LEFT
MAIN OUT
7
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
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].
12 VLZ3 4•Bus
7
MONO
MAIN OUT
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
MAIN OUT
9
IN
TAPE
L
OUT
OUTPUT
18
+6
LEVEL
OO
10
USB
6
R
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 s­ tandard 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.
3
2
7
INSERT
LINE IN
(BAL/UNBAL)
MIC 7
2 MIC PR
E
XDR
1
MONITOR
PHONES
17
16
14
13
15
MONITOR
(MONO)
R
4
3
5
12
11
2
1
3
4
(TIP=SEND, RING=RETURN)
3
(BAL/UNBAL)
2
2
(BAL/UNBAL)
3
17
16
15
14
13
12
11
10
9
8
4
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
LINE IN
STEREO RETURNS
1
2
(BAL/UNBAL)
5
1
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
MIC 20
MIC 19
MIC 18
MIC 17
MIC 16
MIC 15
MIC 14
MIC 13
MIC 12
MIC 11
MIC 10
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 9
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 8
2 MIC PR
E
XDR
(MONO)
(BAL/UNBAL)
4
18
(MONO)
1
AUX SENDS
5
19
L
L
6
20
21/22
(BAL/UNBAL)
GROUP OUTS
4
AUX INSERTS
6
23/24
GROUP INSERTS
(TIP=SEND, RING=RETURN)
L
2
1
R
POWER
ON
PHANTOM
ON
22
20 21
RIGHT
TALKBACK
MIC
19
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
LEFT
MAIN OUT
7
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
The USB routing capabilities are as follows:
USB input TO the mixer - playback:
(1) Stereo channel 23/24 (on the 2404-VLZ3) and
31/32 (on the 3204-VLZ3) features a USB button, so one
may route computer output (such as iTunes®) down the
last stereo channel of the board. This stereo signal may
then be EQ'd, sent to auxiliaries (i.e. to feed monitors,
headphones or effects) and is routable to mains and/or
subgroups via the fader routing features that are available on all other channels. In short, this signal may
be sent to nearly any desired output or pair of outputs.
Additionally, the gain knob at the top of this channel
strip adjusts the USB input level to the mixer to achieve
an optimal signal level.
(2) The 2-Track Return section features a "flip"
switch, so a "Tape" source (connected via RCA cables,
such as an iPod®) or the USB signal from a computer
(playing Windows Media Player® files, for example) may
be routed to the main bus. This section also features a
solo button and input level adjustment for fading house music up and down between bands, at a house of worship, or any other event where this may be necessary.
USB output FROM the mixer - recording, etc:
(1) A variety of different signals may be recorded
via the USB output section, depending on the setup. In
the 'USB OUT' section, the switch on the left [51] will
select either Groups 1-2 or the main mix to feed USB
output channels 1-2. The second switch (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 via routing to subgroups 1-4. The USB tap
points for the subgroups are pre-fader (also pre-insert)
and post-compressor. The signals will show up on the
DAW dependent upon how they are panned on the channels.
7
MONO
MAIN OUT
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
9
MAIN OUT
IN
TAPE
L
OUT
OUTPUT
18
+6
LEVEL
OO
10
USB
6
R
In other words, if subgroups 1 and 2 are used to submix drums and those drums have a stereo image
(e.g. overheads and toms pan according to desire), this
stereo image is retained in the DAW inputs (assuming
subgroup 1 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
are adjusted on the channels. However, compression settings made on the mixer will apply to the recording.
Likewise, it is possible to record the main mix to take
home a copy of the live show. These levels are also pre-main fader. Therefore, levels may be mixed up or
down in the DAW later depending on the needs of the
recording versus the live show. The end result is that
fade-ins and/or fade-outs made during the show do not
affect recorded levels.
And finally, it is possible to route the aux 5-6 (again,
pre-fader) mixer signals into a DAW or plug-in host.
From there, re-route the output of the DAW (or plug-in
host) back into the mixer. Voilà...a powerful outboard
effects unit!
Success here is partially dependent upon the
computer's speed. It needs to be fast enough
to run at low buffer sizes so that there is no
noticeable latency between the input signal and, say,
the reverb return. This kind of flexible routing allows
for a variety of choices: running aux 5-6 as effects sends
to outboard gear, internal effects sends (native to the
board), DAW plug-ins (via USB) or as monitor mix
feeds...a truly powerful feature! Be sure to review the
software requirements on www.mackie.com to confirm
that the latest device drivers are currently in use.
Owner's Manual 13
3
2
7
INSERT
LINE IN
(BAL/UNBAL)
MIC 7
2 MIC PR
E
XDR
1
MONITOR
PHONES
17
16
14
13
15
MONITOR
(MONO)
R
4
3
5
12
11
2
1
3
4
(BAL/UNBAL)
2
(TIP=SEND, RING=RETURN)
3
2
(BAL/UNBAL)
17
16
15
14
13
12
11
10
9
8
4
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
R
LINE IN
STEREO RETURNS
1
2
(BAL/UNBAL)
5
1
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
(BAL/UNBAL)
MIC 20
MIC 19
MIC 18
MIC 17
MIC 16
MIC 15
MIC 14
MIC 13
MIC 12
MIC 11
MIC 10
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 9
2 MIC PR
E
XDR
LINE IN
(BAL/UNBAL)
MIC 8
2 MIC PR
E
XDR
(MONO)
(BAL/UNBAL)
4
18
(MONO)
1
AUX SENDS
5
19
L
L
6
20
21/22
(BAL/UNBAL)
GROUP OUTS
4
AUX INSERTS
6
23/24
GROUP INSERTS
(TIP=SEND, RING=RETURN)
L
3
2
1
R
POWER
ON
PHANTOM
ON
22
20 21
RIGHT
TALKBACK
MIC
19
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
LEFT
MAIN OUT
7
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
19. TALKBACK MIC
This is where you plug in your external talkback
microphone if you need to have one. You may use a
dynamic or self-powered condenser microphone.
20. POWER
Press the top of this rocker switch inwards to turn on
the mixer. The front panel power LED [57] will glow
with happiness, or at least it will if you have the mixer
plugged into a suitable live AC mains supply.
Press the bottom of this switch to put the mixer into
standby mode. It will not function, but some circuits
are still live. To remove AC power, either turn off the AC
mains supply, or unplug the power cord from the mixer
and the AC mains supply.
As a general guide, you should turn on your
mixer first, before any external power amplifiers or powered speakers, and turn it off
last. This will reduce the possibilities of any turn-on, or
turn-off thumps in your speakers.
21. 48V PHANTOM POWER
Most modern professional condenser mics require
48V phantom power, which lets the mixer send lowcurrent 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 e­ xternal power and aren’t affected by
it anyway.
Press this switch in if your microphone requires phantom power. (Always check the position of this
switch before connecting microphones.) A red LED [56] will illuminate just above the main mix meters [58] to indicate that phantom power is active.
This is a global switch that affects all mic channels' XLR
jacks at once.
14 VLZ3 4•Bus
7
MONO
MAIN OUT
INSERT
LINE
TIP=SEND
RING=RETURN
(BAL/UNBAL)
8
MAIN OUT
9
IN
TAPE
L
OUT
OUTPUT
18
+6
LEVEL
OO
10
USB
6
R
Never plug single-ended
­­
(unbalanced) micro­phones, 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, u­ nless you know for certain it
is safe to do so. Be sure the main level [75] is turned
down when connecting microphones to the mic inputs
when phantom power is turned on, to prevent pops from
getting through to the speakers.
22. POWER CONNECTION
This is a standard 3-prong IEC power connector.
Connect the detachable linecord (included in the box
with your mixer) to the power receptacle, and plug the
other end of the linecord into an AC outlet. The VLZ3 4•Bus Series Mixers have a universal power supply that can accept any AC voltage ranging from
100 VAC to 240 VAC. No need for voltage select switches.
It will work virtually anywhere in the world. That’s why
we call it a “Planet-Earth” power supply! It is less susceptible to voltage sags or spikes, compared to
conventional power supplies, and provides greater electromagnetic isolation and better protection against
AC line noise.
Disconnecting the plug’s ground pin is dangerous. Don’t do it.
3
2
7
INSERT
LINE IN
(BAL/UNBAL)
MIC 7
2 MIC PR
E
XDR
1
4
VLZ3 4•Bus Features
Front Panel - Channel Strip
16
GAIN
-10 dBV
23
0
60
+15dB -45dB
24
25
LOW CUT
100 Hz
18dB/OCT
PAD
-20dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
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
26
OFF
1
AUX
MAX
OFF
1
U
PRE
1
U
PRE
OFF
1
OFF
GAIN
U
-20
23/24
50%
U
+20
-20
44
FX 1
25%
12V
0.5A
+20
44
45
FX 2
1
1
AUX
1
U
PRE
2
OO
+15
U
2
OO
PRE
+15
U
2
OO
PRE
+15
U
2
OO
PRE
+15
U
2
OO
PRE
+15
U
2
OO
PRE
+15
U
2
OO
PRE
AUX MASTERS
OO
OO
4
27
+15
U
+15
U
OO
3
+15
U
OO
3
+15
U
OO
3
+15
U
OO
3
+15
U
OO
3
+15
U
OO
3
1
U
PRE
+15
U
OO
OO
2
PRE
+15
U
OO
3
4
+15
U
OO
4
+15
U
OO
4
+15
U
OO
4
+15
U
OO
4
+15
U
OO
4
+15
U
OO
4
+15
U
OO
+15
U
OO
+15
U
+15
OO
PRE
5
OO
6
5
U
FX1
FX2
28
+15
PRE
29
+15
U
+15
OO
PRE
5
U
FX1
OO
5
U
FX1
+15
OO
PRE
5
U
FX1
+15
OO
PRE
5
U
FX1
+15
OO
PRE
5
U
FX1
+15
OO
OO
5
U
FX1
OO
6
U
FX1
+15
U
SOLO
+15
U
SOLO
+15
U
SOLO
+15
U
SOLO
+15
U
SOLO
+15
SOLO
OO
OO
6
FX2
+15
U
OO
6
FX2
+15
U
OO
6
FX2
+15
U
OO
6
FX2
+15
U
OO
6
FX2
+15
U
OO
6
FX2
+15
U
OO
6
FX2
OO
OO
+15
OO
EQ
+15
30
INT FX
AUX 5/6
EQ
U
31
EQ
U
200
32
100
8k
U
33
-15 +15
800
200
100
PAN
L
R
L
8k
dB
10
5
SIG
U
5
10
43
5
+15
U
+15
U
OO
AUX
2
+15
U
40
50
60
OO
8k
OL
30
L/R
40
50
60
OO
EQ
U
-15 +15
800
200
8k
L
17
-15 +15
800
FREQ
200
8k
L
EQ
U
R
L
OO
AUX
3
+15
U
OO
AUX
4
+15
U
OO
MAIN
dB
OL
SIG
5
41
SIG
U
SOLO
5
3-4
42
L/R
40
50
60
OO
5
5
dB
SIG
LOW
MID
400Hz
5
5
30
L/R
40
50
60
OO
SIG
5
5
30
L/R
40
50
60
OO
dB
SIG
5
LOW
80Hz
-15 +15
BAL
R
L
5
+15
3-4
30
L/R
40
50
60
OO
OL
2
SOLO
SOLO
dB
SIG
5
L/R
40
50
60
OO
OL
SIG
U
SOLO
5
SOLO
10
PFL
AFL
U
U
OO MAX
TO AUX 1
OO MAX
SEND MASTER
MAX
SOLO
MAX
TO AUX 1
OO
OO
U
U
OO MAX
TO AUX 2
TAP
DELAY
OO MAX
TO AUX 2
OO MAX
MONITOR
U
U
INT FX
MUTE
MAX
TO MAIN
MAX
PHONES
MAX
TO MAIN
OO
OO
OO
GROUPS
TALKBAC
U
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
MAX
LEVEL
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
OO
SOLO
SOLO
SOLO
SOLO
PUSH
TO TALK
LEFT
LEFT
LEFT
LEFT
AUX 1-4
RIGHT
RIGHT
RIGHT
RIGHT
2
3
4
MAIN
MAIN MIX
dB
dB
dB
dB
dB
10
10
10
10
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
3-4
30
30
30
30
30
L/R
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
1-2
1-2
30
SOLO MODE
U
R
10
20
3-4
+15
OO
U
INT FX
MUTE
MUTE
10
1-2
20
0 dB=0 dBu
23/24
U
SOLO
+15
U
-15 +15
U
10
10
1-2
20
3-4
OL
U
SOLO
10
1-2
dB
20
SIG/OL
LOW
MID
400Hz
-15 +15
U
MUTE
10
U
SOLO
20
3-4
OL
10
10
1-2
20
30
OL
U
SOLO
10
1-2
dB
10
10
LEVEL
SET
FX 2
TAP
DELAY
-15 +15
U
21/22
MUTE
MUTE
+15
U
1
U
OO MAX
SEND MASTER
HI
MID
2.5k
-15 +15
U
BAL
20
2
4
U
HI
MID
2.5k
L
0
+15
U
RUDE SOLO
OO
U
LOW
80Hz
R
4
+15
-15 +15
U
-15 +15
PAN
7
+15
U
HI
12k
-15 +15
U
LOW
80Hz
-15 +15
19
MUTE
36
8k
LOW
80Hz
R
35
U
PAN
OO
INT FX
AUX 5/6
HI
12k
FREQ
2k
100
-15 +15
18
MUTE
MID
U
LOW
80Hz
+15
HI
12k
-15 +15
U
2k
100
-15 +15
R
EQ
U
MID
FREQ
PAN
OO
INT FX
AUX 5/6
HI
12k
U
10
20
3-4
100
+15
20
2
OO
FX 1
1
10
1-2
20
30
39
40
L
OO
INT FX
AUX 5/6
-15 +15
U
2k
LOW
80Hz
38
U
SOLO
200
-15 +15
MUTE
OL
-15 +15
800
FREQ
PAN
+15
MID
U
16
MUTE
5
100
R
EQ
U
-15 +15
U
2k
LOW
80Hz
15
dB
200
-15 +15
37
10
-15 +15
800
FREQ
PAN
OO
INT FX
AUX 5/6
MID
U
34
+15
HI
12k
-15 +15
U
2k
LOW
80Hz
-15 +15
EQ
U
MID
FREQ
2k
OO
INT FX
AUX 5/6
HI
12k
-15 +15
U
MID
-15 +15
800
+15
HI
12k
HI
12k
-15 +15
U
OO
INT FX
AUX 5/6
LEFT RIGHT
U
AUX
1
SIG/OL
OO
MAIN
MIX
PWR
7
OO
U
INT FX
AUX 5/6
GRP 3-4
AUX 5-6
STEREO RETURNS
U
+15
PRE
PRE
48V
30
5
OO
CH 3-4
10
4
OO
GRP 1-2
MAIN L/R
U
3
3
USB OUT
CH 1-2
TAPE
USB
SOLO
+20
TO MAIN
OO
2
PRE
2404
100%
SUCK
AUX
U
PRE
0%
75%
2-TRACK RETURN
U
1
AUX
U
PRE
MAX
COMP
AUX
U
PRE
MAX
COMP
AUX
U
PRE
MAX
COMP
AUX
23
21/22
USB
COMP
AUX
C GAIN
MI
U
0
60
+15dB -45dB
PAD
-20dB
GAIN
-10 dBV
C GAIN
MI
U
20
GAIN
-10 dBV
C GAIN
MI
U
19
GAIN
-10 dBV
C GAIN
MI
U
18
GAIN
-10 dBV
C GAIN
MI
U
17
GAIN
-10 dBV
C GAIN
MI
U
Q
O
15
GAIN
20
3-4
30
L/R
40
50
60
OO
Owner's Manual 15
GAIN
16
-10 dBV
23
U
C GAIN
MI
17
GAIN
-10 dBV
U
18
GAIN
-10 dBV
C GAIN
MI
U
C GAIN
MI
19
GAIN
-10 dBV
U
20
GAIN
GAIN
-10 dBV
C GAIN
MI
U
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
24
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
25
PAD
-20dB
23
26
OFF
MAX
COMP
GAIN
U
C GAIN
MI
0
60
+15dB -45dB
21/22
-20
+20
FX 1
23/24
U
-20
+20
FX 2
USB
OFF
MAX
COMP
OFF
Channel Controls
The vertical channel strips look very similar, and
have only a few differences between them. Each
channel works independently, and just controls the
signals plugged into the inputs directly behind it.
“U” like Unity gain
Mackie mixers have a “U” symbol on almost every level
control. It stands for “unity gain,” meaning no change in
signal level. The labels on the controls are measured in
decibels (dB), so you’ll know what you’re doing level-wise if you choose to change a control’s settings.
23. GAIN CONTROL
If you haven’t already, please read the level-setting
procedure on page 3.
The gain knobs adjust the input sensitivity of the mic
and line inputs. This allows signals from the outside
world to be adjusted to run through each channel at
optimal internal operating levels.
If the signal originates through the mic XLR jack,
there will be 0 dB of gain with the knob fully down,
ramping to 60 dB of gain fully up.
Through the 1⁄4" line input of channels 1-20 (2404VLZ3) and channels 1-28 (3204-VLZ3), there is 15 dB of
attenuation fully down and 45 dB of gain fully up, with
unity gain "U" at 10:00.
Through the 1⁄4" line input of channels 21/22 and
23/24 (2404-VLZ3) and 29/30 and 31/32 (3204-VLZ3),
there is 20 dB of a­ ttenuation fully down and 20 dB of
gain fully up, with unity gain "U" at 12:00.
This 20 dB of a­ ttenuation can be very handy when you
are i­ nserting a hot signal, or when you want to add EQ
gain, or both. Without this “­ virtual pad,” there is more
chance of channel clipping.
16 VLZ3 4•Bus
MAX
COMP
OFF
MAX
COMP
24. LOW CUT
All mono channels have a low-cut switch (often referred to as a high-pass filter) that cuts bass frequencies below 100 Hz at a rate of 18 dB per octave.
We recommend that you use low-cut on e­ very microphone application except kick drum, bass guitar,
or bassy synth patches. These aside, there isn’t much
down there that you want to hear, and filtering it out
makes the low stuff you do want much more crisp and
tasty. Not only that, but low-cut can help reduce the
possibility of feedback in live situations, and it helps to
conserve amplifier power.
Another way to consider low-cut’s function
is that it actually adds flexibility during live
performances. With the a­ ddition of low-cut,
you can safely use low equalization on vocals.
Many times, bass shelving EQ can really benefit voices.
Trouble is, adding low EQ also boosts stage rumble, mic
handling clunks and breath pops from way-down low.
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 line-level signals
that produce a higher output than usual may require
that the gain control [23] is turned way down. If this is
the case, engage the pad switch to allow an additional
20 dB at the input to the mic preamp. This prevents
overloading the microphone preamp and provides better
gain control. The pad only applies to XLR inputs, not the
1/4" TRS inputs.
26. COMPRESSOR
When the incoming signals exceed the threshold level
set by this knob, the signal level is automatically
compressed. This reduces the dynamic range, and
reduces the 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 in an overall steadier, more
constant volume level for the signal. It helps sources,
such as vocals, "sit" properly in the mix; it is very useful
for live sound.
The compression ratio is fixed at around 6:1, with
a soft knee response. The threshold can be adjusted
clockwise from off (no compression) to 0 dBu (max).
As an example, suppose the threshold is set to maximum. An incoming signal reaches the threshold of
0 dBu. As it increases beyond the threshold, it becomes
compressed at a ratio of 6:1. This means that even if the
input further increases by 6 dB, the actual output only
increases by 1 dB. This compresses the output signal, so
there is more protection to your system from distortion
and overload due to poor microphone technique (say
it ain't so) and general pops, bangs and heavy metal
screaming. The soft knee means that the compression
slowly ramps up to 6:1 from the threshold. It does not
jump abruptly to 6:1, as this would be hard knee compression, and harder on the ears too.
The graph on this page shows the input signal level
going into the compressor, versus the output level coming out of it. It is the typical graph to see when compressors are discussed, and is just the kind of thing
our engineers like to discuss during the company Christmas party*.
If the compressor is off, then the input = output. For
example an input signal level of +5 dBu results in an
output level of +5 dBu. The diagonal line from lower left
to upper right represents x = y, that is, input = output.
+20
+15
OUTPUT SIGNAL STRENGTH dBu
Each of the last four mono channels in the VLZ3 4•Bus mixer has an in-line compressor circuit
with a variable threshold. This is very useful for compression of vocals, and snare drums, for example,
so you might consider connecting your microphones
and drum mics to these channels, rather than other channels.
+10
+5
SLOPE 6:1
FT
SO
+0
-5
E
OP
SL
EE
KN
1:1
-10
-10
-5
+0
+5
+10
+15
+20
INPUT SIGNAL STRENGTH dBu
At the maximum compression, the threshold is set at
0 dBu, and the input to output relationship is represented by the lower curve. If the input is -5 dBu
(that is, below the threshold), the output is -5 dBu. As
the input reaches 0 dBu, the output is a bit less than
0 dBu. If the input is +5 dBu, the output is about
+2 dBu. If the input reaches +10 dBu, then the output
is +3 dBu. Notice the shapely curve of the soft knee
between the diagonal slope of x = y and the compressor
slope of 6:1 (the compression ratio).
The other blue curves represent in-between positions
of the compressor knob, with higher thresholds before
compression begins.
Outboard compressors often have controls such as
compression ratio, threshold, soft knee/hard knee, attack time, and release time. These last two affect how
quickly the compressor kicks in when the input exceeds
the threshold, and how quickly it is released after it
drops below the threshold. In this compressor, these
parameters are specially chosen to give you the best
overall performance.
Adjust the threshold carefully, so your dynamic range
is still lovely, without distortion or overload during the
performance. Run through a few practice screams and
high-notes, and adjust the compression as required.
* My High School math teacher, Mr. Marvin, thought that
graphs might come in handy for me one day. Finally!
Owner's Manual 17
AUX
1
U
PRE
2
OO
+15
U
OO
+15
U
PRE
27
3
OO
4
OO
+15
U
+15
28
PRE
5
U
FX1
29
6
OO
+15
U
OO
+15
FX2
30
INT FX
AUX 5/6
EQ
31
HI
12k
-15 +15
U
32
33
U
MID
-15 +15
800
200
FREQ
2k
100
8k
27. AUX SENDS 1-6
29. INT FX 1-2 / AUX SENDS 5-6
These controls allow you to set up
to six independent mixes, typically
for running stage monitors or external effects processors.
These controls have dual functions depending on
what your needs are at any given time. They allow you
to send signal either to internal effects FX1 and FX2, or
to aux 5 and aux 6, typically used for running stage monitors or external effects processors.
The controls are off when turned
fully down, deliver unity gain at the
center, and can provide up to 15 dB
of gain turned fully up. Chances are
that you will never need this extra
gain, but it's nice to know that it's
there if you do.
Aux Sends 1-6 [13] are line-level
outputs, and are used if you want
to connect external processors,
powered stage monitors, or external
power amps with passive stage monitors. Stereo Returns 1-2 [5]
are line-level inputs, typically used
to return the output from external
processors back to the main mix.
Carefully adjust how much of each
channel appears in your aux mixes.
For example, if you are running
stage monitors, and someone wants
"more me, and less them," adjust
these carefully.
U
Aux sends 3-4 can either be pre or
post
fader, depending on the position
-15 +15
of the aux pre/post switches [28].
Mono channel
For stage monitor work, use pre, so
the stage monitors do not increase in
volume when the channel level is adjusted. For external
processors, use post. In this way, the feed to external
processors will vary with the channel level, keeping
them in the same ratio (wet/dry).
34
LOW
80Hz
28. PRE-FADER / AUX SENDS 1-2
Aux sends 1-2 are always pre-fader, designed for
stage monitor applications. Aux sends 3-4 may be set to
pre- or post-fader, so they may be used for monitors or
effects.
Pre-fader: with the pre switch engaged (pressed in,
not commited to marriage), aux 3 and 4 deliver signals
post-insert, post-low cut, post EQ, post-mute and prefader. Any changes made to the channel controls, except
the fader, will affect the aux send signal.
Post-fader: with the pre switch disengaged (up), aux
3 and 4 deliver signals post-insert, post-low cut, postmute, post-EQ and post-fader. Any changes made to the
channel controls will affect the aux send signal.
18 VLZ3 4•Bus
Aux Sends 5-6 (or FX1-2) are post-fader. Any changes
made to the channel controls will affect the signal going
to the internal effects processors or to the aux 5-6 output jacks [13]. Adjustments to the channel fader
[43], gain [23] and channel EQ [31-36] will affect the
feed going to the internal effects processors.
30. INT FX / AUX 5-6 Switch
This switch determines if that channel's controls
[29, above] will be used for running the internal effects
processors (engaged) or as aux 5-6 (disengaged).
CHANNEL EQUALIZATION (EQ)
All VLZ3 4•Bus mono channels have 3-band EQ with
shelving high, peaking mid with adjustable mid frequency and shelving low. The stereo channels have
peaking hi-mid and peaking low-mid EQ controls in addition to the shelving high and shelving low EQ controls.
Shelving means that the circuitry boosts 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 frequencies form a “hill”
around the center frequency.
With too much EQ, you can really upset things. We’ve
designed a lot of boost and cut into each equalizer
circuit because we know that everyone will occasionally need that. But if you max the EQ on every channel,
you’ll get mix mush. Equalize subtly and use the left
sides of the knobs (cut), as well as the right (boost). If
you find yourself repeatedly using a lot of boost or cut,
consider altering the sound source, such as placing a
mic differently, trying a different kind of mic, a different
vocalist, changing the strings, or gargling.
31. HIGH EQ
37. PAN
The high EQ provides up to
15 dB of boost or cut above
12 kHz, and it is also flat (no 0
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.
+15
+10
+5
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
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].
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
34. LOW EQ
The low EQ provides up to
15 dB of boost or cut below
80 Hz. The circuit is flat at
0
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.
+15
+10
+5
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
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
0
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.
+15
+10
+5
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
+10
+5
–5
–10
–15
20Hz
100Hz
1kHz
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 pan 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.
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.
+15
10kHz 20kHz
1
U
PRE
2
OO
+15
U
OO
+15
U
OO
+15
U
PRE
39. OL LED
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
0
detent. Frequencies affected
typically include the male
vocal range as well as the
fundamentals and harmonics
of many lower-timbred instruments.
This control allows you to adjust
how much of the channel signal is sent
to the left versus the right outputs.
AUX
27
3
4
OO
+15
28
PRE
5
U
FX1
29
6
OO
+15
U
OO
+15
FX2
30
INT FX
AUX 5/6
EQ
U
31
HI
12k
-15 +15
U
35
HI
MID
2.5k
-15 +15
U
36
LOW
MID
400Hz
-15 +15
U
34
LOW
80Hz
-15 +15
BAL
37
L
R
38
23/24
MUTE
dB
10
5
39
40
OL
SIG
U
43
5
SOLO
41
10
1-2
20
30
3-4
40
50
60
L/R
42
OO
Stereo channel
Owner's Manual 19
The OL (overload) LED will come on when the channel’s input signal is too high. This should be
avoided, as distortion will occur. If the OL LED comes
on regularly, check that the gain control [23] is set correctly for your input device, and that the channel
EQ is not set with too much boost. The OL LED will
also illuminate when a channel's mute switch [38] is
engaged.
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). To feed only one side or the
other, turn the pan knob accordingly.
This LED also 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 a signal is present.
If you are doing a mixdown to a 2-track, for example,
simply engage the main mix switch on each channel
that you want to hear, and they will be sent to the main
mix bus. If you want to create a group of certain channels, engage either the 1-2 or 3-4 switches instead
of the main mix, and they will be sent to the appropriate
group faders. From there, the groups may be sent back
to the main mix (using the group assign switches [73]
above the group faders [74]), allowing you to use the
group faders as a master control for those channels.
The SIG (signal) LED will come on when the channel’s input signal (at least -20 dBu) is present.
It should illuminate non-stop if signal above 0 dBu is
present in that channel. This LED will be solid when a
channel's solo switch [41] is engaged.
If you are creating new tracks or bouncing existing
ones, you will also use the 1-2 and 3-4 switches, but not
the main mix switch. Here you do not want the groups
sent back into the main mix bus, but sent out, via the
group out jacks [11], to your multitrack inputs.
41. SOLO
43. CHANNEL FADER
Whenever a channel's solo switch is engaged, you
will hear only the soloed channel(s) in the headphones
and monitor outputs. This gives you the opportunity to
audition the channels before they are added to the main
mix. In PFL mode you can hear the solo signal, even
when the channel's fader is down.
This is the last control in a channel’s signal path, and
it adjusts the level of each channel onto the main mix.
The “U” mark i­ ndicates unity gain, meaning no increase
or decrease of signal level. All the way up provides an
additional 10 dB, should you need to boost a section of
a song. If you find that the overall level is too quiet or
too loud with the level near unity, check that the gain
control [23] is set correctly.
40. SIG LED
Solo is also used to set the gain of each channel
correctly. When a channel is soloed, you can adjust the
channel gain [23] until your input source reaches the
level of the 0 dB LED of the left meter. Select PFL on
the SOLO MODE switch [60] for gain setting.
Solo signals reaching the headphones and
monitor outputs are not affected by the channel level (unless the SOLO MODE switch
is set to AFL) or main level; therefore, turn
down the phones level [69] and monitor level [68] first,
as soloed channels may be loud.
The rude solo light [59] will turn on as a reminder
that what you are listening to in the headphones and
control room is just the soloed channel(s), 2-track return, stereo return(s), aux(es), and/or group(s). If
the solo source is an input channel, that channel's SIG
(signal) LED [40] will illuminate when that channel is
soloed.
42. ASSIGN
Alongside each channel fader are three buttons
referred to as channel assignment switches. Used in
conjunction with the channel's pan knob [37], they
are used to determine the destination of the channel's
signal.
20 VLZ3 4•Bus
44. FX1 and FX2
When engaged, these switches, located just below the
stereo channels' gain controls [23], indicate that you
want to return the internal FX processor signal to the
stereo channel. The TRS inputs are disengaged when
the switch is depressed.
Remember to turn the FX processor level
controls to aux 1/2 and main all the way down
to avoid double-bussing the FX return.
See Appendix E (page 37) for a list of the effects
provided and a description of each one.
45. USB Switch
The USB switch on the last stereo channel provides
stereo playback of iTunes®, or a DAW via the USB connection. Like any other input, this signal may also
be EQ'd, sent to an aux bus, or mixed in with the other
signals and assigned to subgroups or main outs. This
switch overrides both the TRS inputs [5] and the FX2
switch [44].
50%
46
47
25%
12V
0.5A
U
48
+20
TO MAIN
OO
1
0%
75%
SUCK
2-TRACK RETURN
49 50
SOLO
AUX MASTERS
2404
100%
TAPE
USB
USB OUT
CH 1-2
GRP 1-2
MAIN L/R
CH 3-4
51
GRP 3-4
AUX 5-6
56
STEREO RETURNS
U
U
MAIN
MIX
57
LEFT RIGHT
U
AUX
1
PWR
48V
20
10
OO
2
OO
3
52
OO
4
+15
U
+15
U
+15
U
SOLO
SOLO
53
SOLO
OO
OO
OO
+15
U
+15
U
+15
U
OO
AUX
2
OO
AUX
3
54
+15
U
58
7
4
2
4
7
OO
AUX
4
+15
U
10
LEVEL
SET
20
30
OO
5
OO
6
OO
+15
U
SOLO
+15
U
SOLO
+15
SOLO
OO
+15
U
OO
MAIN
+15
U
0 dB=0 dBu
59
RUDE SOLO
OO
+15
1
SOLO
OO
55
+15
2
SOLO
SOLO MODE
60
Pre-fader aux sends are typically used to provide
another mix for stage monitors. If no external effects
are being used, the stereo returns can be used as additional stereo inputs, or not used at all.
Read on to learn more about these features...
2
0
+15
U
So, the original unprocessed “dry” signals go from
the channels to the main mix, and the processed “wet”
signals go from the stereo returns to the main mix, and
once mixed together, the dry and wet signals combine to
create a glorious sound!
PFL
AFL
2-Track, USB, Aux Masters and
Meters
This section includes the 2-track returns, USB, aux
masters and stereo returns, and the meters. A 4x2 USB
recording and playback function is at your disposal.
This means up to 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
fed from stereo returns 1-2 [54] and talkback [70, 71]
and aux 1-2 may get internal effects processor output
via the FX to AUX controls [62]. Any or all of these signals are mixed together, sautéed to a turn and sent
out the aux send jacks [13] after the optimum output
level is determined by the aux masters [52]. Aux sends
from the channels are pre-fader (aux 1-2), selectable
pre- or post-fader (aux 3-4), and post-fader (aux 5-6).
All are post-EQ.
Post-fader aux sends can be fed to the inputs of an
external processor like a reverb or digital delay. From
there, the outputs of this external processor are fed
back to the mixer’s stereo return jacks [5]. Then these
signals are sent through the stereo return level controls
[54], and finally delivered to the main mix or to auxes
1-4 to add effects to monitors if so desired by the talent
["More me! More reverb!"].
46. LAMP
This female BNC connector provides 12 volts DC with
the center pin positive. Connect any quality gooseneck
lamp here.
47. SUCK KNOB
If the band performing asks you if you can make them
sound better, reply with a resounding 'yes, indeed I can
make you sound better...I will turn down the Suck Knob
[47] which will do wonders for your band!"
As seen, it is broken down in percentages, from 0%
suck (turned fully counter-clockwise) to 100% suck
(turned fully clockwise). This way you get to determine
the 'Suck Factor Percentage' (SFP) of the band.
If they follow instructions, buy you beers, and are a
swell bunch, turn the knob counter-clockwise. If the
drummer hits the snare drum or the guitarist does a
screaming harmonic dive-bomb while you're setting up
mics on their respective equipment (and thusly helping
to ruin your hearing...huh?), feel free to crank the knob
clockwise.
48. 2-TRACK RETURN LEVEL
This knob controls the overall level to the mains of
the tape (RCA) or USB, depending on the position of
the 2-track return tape/USB switch [50]. This knob's
level ranges from off, through unity (center detent position), on up to 20 dB of extra gain (fully clockwise).
49. 2-TRACK RETURN SOLO
This switch sends the 2-track return (tape or USB,
depending on the position of the switch[50]) to the solo
bus.
50. 2-TRACK RETURN TAPE/USB
This determines if the 2-track return gets its signal
from the RCA "tape" inputs (switch disengaged) or USB
(switch engaged).
Owner's Manual 21
53. MASTER AUX SENDS SOLO
50%
46
47
25%
12V
0.5A
U
48
+20
TO MAIN
OO
1
0%
75%
SUCK
2-TRACK RETURN
49 50
SOLO
AUX MASTERS
2404
100%
TAPE
USB
USB OUT
CH 1-2
GRP 1-2
MAIN L/R
CH 3-4
51
GRP 3-4
AUX 5-6
56
STEREO RETURNS
U
U
MAIN
MIX
57
LEFT RIGHT
U
AUX
1
PWR
48V
20
10
OO
2
OO
3
52
OO
4
+15
U
SOLO
+15
U
SOLO
+15
U
53
SOLO
OO
OO
OO
+15
U
+15
U
+15
U
OO
AUX
2
OO
AUX
3
54
+15
U
58
7
4
2
0
+15
U
2
4
7
OO
AUX
4
+15
U
10
LEVEL
SET
20
30
OO
5
OO
6
OO
+15
U
SOLO
+15
U
SOLO
+15
OO
+15
U
MAIN
+15
U
0 dB=0 dBu
59
The aux send solo is AFL and is not affected by the
solo mode switch (PFL/AFL) [60], except that in PFL
mode only the left meter indicates the signal.
54. STEREO RETURNS 1-2 to AUX 1-4/MAIN
These ten controls set the overall level of line signals
received from the stereo return 1-2 inputs [5]. These
controls range from off to +15 db of gain when fully
clockwise, to compensate for low-level effects.
Signals passing through these controls go directly to
the main mix and aux 1-4 buses where they are combined with signals from the channels.
RUDE SOLO
OO
+15
1
SOLO
OO
This button allows you to solo an individual aux send.
If you are using the aux sends to feed your stage monitors, you may use these buttons to check your
monitor mix. The rude solo LED [59] will flash to let
you know the solo system is active.
SOLO
OO
55
+15
2
SOLO
SOLO MODE
60
PFL
AFL
51. USB OUT
These two switches allow for monstrous flexibility on
the four recordable signals. The default switch configuration (disengaged) routes subgroups 1-4 over
the USB connection to your favorite DAW software for
a "mix it later" 4-track recording. Engaging the switch
on the left allows the main L-R mix to be recorded for
convenient stereo mixes of the show. The other 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.
52. MASTER AUX SENDS 1-6
These knobs provide overall control over the aux send
levels, just before they are delivered to the aux send
outputs [13]. These knobs go from off to +15 db when
turned all the way up.
This is usually the knob you turn up when the lead
singer glares at you, points at his stage monitor, and
sticks his thumb up in the air. (It would follow that if
the singer stuck his thumb down, you’d turn the knob
down, but that never happens.)
Keep in mind that aux sends 3-4 may either be
pre or post fader, depending on the position of
the channel's aux pre/post switch [28].
22 VLZ3 4•Bus
55. STEREO RETURNS SOLO
This button allows you to solo a stereo return. The
rude solo LED [59] will flash to let you know that the
solo system is active. Since this is an input, this signal is
affected by the PFL/AFL master switch.
56. 48V LED
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 for all mic inputs (except the talkback mic) may be selected by pressing up on the mixer's phantom [21] switch.
Never plug ­­single-ended (unbalanced) micro­phones, 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, u­ nless you are certain it is safe
to do so.
57. POWER LED
This green LED will illuminate when the mixer is
turned on, as a reminder of how on it really is. If it is
not on, then it is off, and the mixer becomes a rather
nice weight for keeping your morning newspaper from blowing away in the wind.
If it does not turn on, make sure the power cord is
correctly inserted at both ends, the local AC mains supply is active, and the power switch [20] is on.
58. LEFT/RIGHT Level Meters
60. SOLO MODE
These peak meters are made up of two columns of
twelve LEDs, with three colors to indicate different
ranges of signal level, traffic light style. They range from
–30 at the bottom, to 0 in the middle, to +20 (CLIP) at
the top.
Engaging a channel's solo switch [41] will cause this
dramatic turn of events: Any existing source selection
is immediately replaced by the solo signal, appearing
at the monitor outputs [15, 16], phones [17] and at
the left meter [58] (left and right meters when in AFL
solo mode). The audible solo levels are then controlled
by the solo knob [67]. The discrete level controls for headphones and monitor outputs are dependent on
what is plugged in.
When a channel is soloed in PFL, the right meter
shows no reading, and the left meter shows the level of
that channel’s signal level, pre-fader.
In AFL, both left and right meters illuminate to indicate the 'After Fader Level' of the signal and stereo
imaging. AFL is always used for outputs, regardless
of the position of the PFL/AFL master switch, as you
always want to view the output level after the fader.
The left meter's 0 dB LED is labeled "level set" to
show where the level should be when adjusting a channel’s gain [23] in the solo mode (as described in
“Set the Levels” on page 3).
When 0 dBu (0.775 V) is at the main left and right
TRS outputs [7], it shows as 0 dB on the meters.
You can get a good mix with peaks flashing anywhere
between –20 and +10 dB on the meters. Most amplifiers
clip at about +10 dBu, and some recorders aren’t so
forgiving either. For best real-world results, try to keep
your peaks between “0” and “+6.” Remember, audio meters are just tools to help assure you that your levels
are “in the ballpark.” You don’t have to stare at them
(unless you want to).
59. RUDE SOLO Light
This large red LED flashes when one or more solo
switches are engaged [41, 49, 53, 55, 73]. This acts as
a reminder that what you hear in the control room and
headphones is the soloed channel(s), 2-track return,
stereo return, aux(es), and/or group(s). If you forget
that you are in solo mode, you can easily be tricked
into thinking that something is wrong with your mixer.
Hence, the rude solo light. Please forgive its rudeness, it
is only trying to help, and wants to be your friend.
With the solo mode switch in the up position, you are
in PFL mode, meaning Pre-Fader Listen. This mode is
required for the "Set the Levels" procedure and is handy
for quick spot-checks of channels, especially ones that
have their faders turned down. PFL mode is only available to input signals. While in PFL mode, if an
output is soloed, its signal will show up, but it will be an
AFL signal.
With the solo mode switch down, you are in AFL
mode, meaning After-Fader Listen. You will be able to
hear the stereo output of the soloed channel - it will follow the channel's fader [43] and pan [37] settings.
It is similar to muting all of the other channels, but without the hassle. AFL mode is the only soloing mode
for subgroups and aux masters. Subgroups 1-2 or 3-4
may be soloed simultaneously for a true stereo image.
AFL is a new feature available to channel inputs and
provides a mixdown solution that allows soloing the mix
as it is on the faders.
In PFL mode, solo will not be affected by a channel's
mute switch [38] position.
Remember, PFL mode taps the channel signal
before the fader. If you have a channel's fader
set way below "U" (unity gain), solo will not
know that and will send a unity gain signal to the monitor outputs [15, 16], phones output [17], and
meter display [58]. That may result in a startling level
boost at these outputs when switching from AFL to PFL
mode, depending on the position of the solo level knob [67].
Owner's Manual 23
63
FX 1
FX 2
U
61
U
SIG/OL
OO MAX
SEND MASTER
U
SIG/OL
OO MAX
SEND MASTER
OO MAX
TO AUX 1
MAX
TO AUX 1
OO
U
64
TAP
DELAY
62
TAP
DELAY
MAX
TO AUX 2
OO
U
INT FX
MUTE
MAX
TO MAIN
MAX
TO MAIN
OO
OO
GROUPS
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
SOLO
LEFT
LEFT
RIGHT
RIGHT
1
67
MAX
SOLO
OO
U
68
OO MAX
MONITOR
U
U
INT FX
MUTE
SOLO
U
U
MAX
TO AUX 2
OO
65
66
U
72
U
SOLO
2
70
LEFT
LEFT
RIGHT
RIGHT
4
MAX
LEVEL
OO
PUSH
TO TALK
SOLO
3
71
AUX 1-4
MAIN
The talkback feature allows the engineer to communicate with the talent either through the phones
output [17] or the aux 1-4 send outputs [13] using
an external talkback microphone. This saves a lot of shouting over the audience's heads as you set up the
talented one's stage monitors to their peculiarly-picky
satisfaction.
61. FX1 and FX2 SEND MASTER
These knobs control the level of the signals going into
each internal effects processor. Adjust them carefully,
keeping an eye on the adjacent sig/ol LED [63] to prevent overloading the effects processor.
MAIN MIX
dB
dB
dB
dB
dB
10
10
10
10
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
74
MAX
PHONES
OO
TALKBACK
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
73
69
Or the FX returns may be routed to the stereo input
channels[23/24 on the 2404 VLZ3, 31/32 on the 3204
VLZ3], using the the FX1 and/or FX2 switches [44].
This allows for way more flexibility. For example, you
can EQ the FX and send them to any aux, group, or
main. Just remember to turn the 'to aux 1', 'to aux 2'
and 'to main' knobs [62] fully counter-clockwise to
avoid double-bussing.
62. FX1 and FX2 TO AUX 1/AUX 2/MAIN
75
Stereo Effects Processors,
Headphones, Talkback, Main
and Groups Mix*
There are two identical Mackie Running-Man 32-bit
internal effects processors. They are mono-in, stereo-out
effects processors, with 24 presets each. Signals to these
effects processors come from adjusting the FX1 and/or
FX2 aux send [29] on each channel and the FX masters
[61].
The stereo output from each processor may be added
to the main mix using the 'FX to main' knob [62]. The
stereo output from each processor may also be added to
aux 1 and/or aux 2 by adjusting the 'FX to aux' control
[62].
These knobs route the effects output to aux 1, aux
2 and mains independently. Use aux 1 and aux 2 to
provide effects to monitors. Slowly add effects to the
monitors by turning the 'to aux 1' and 'to aux 2' knobs
clockwise. Use the aux master to monitor the amount
sent. The FX output to the mains will be heard directly
from the PA.
63. SIG/OL LED
These dual-LEDs illuminate green when the signal
level going into each effects processor is within a good
operating range (sig). They illuminate red if the effects
processor is overloaded with too strong of a signal (ol).
Turn down the send master levels [61] and check the
channel sends if these light red regularly.
The signals going into the processors are affected by
the channels' aux 5/6 sends [29], the channel gain [23],
EQ [31-36], and channel faders [43], as well as the FX
Send Master [61].
64. PRESET DISPLAY
These displays show the number of the currently
selected effects preset, as shown in the list of presets
silkscreened above. Rotate the preset selector knob
right or left to change a preset.
A new preset will be loaded approximately 1/4 of a
second after you stop turning the knob, and it will be
stored into the FX memory after about one second.
When the VLZ3 4•Bus mixer is turned on, the FX section will load up the last-used preset.
24 VLZ3 4•Bus
* Affectionately referred to as the 'meat 'n potatoes'.
63
FX 1
FX 2
U
61
U
SIG/OL
OO MAX
SEND MASTER
U
SIG/OL
OO MAX
SEND MASTER
OO MAX
TO AUX 1
MAX
TO AUX 1
OO
U
64
OO MAX
TO AUX 2
65
TAP
DELAY
OO MAX
TO AUX 2
U
INT FX
MUTE
MAX
TO MAIN
MAX
TO MAIN
OO
OO
GROUPS
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
SOLO
LEFT
LEFT
RIGHT
RIGHT
1
67
MAX
SOLO
OO
U
68
OO MAX
MONITOR
U
U
INT FX
MUTE
SOLO
U
U
62
TAP
DELAY
66
U
72
U
SOLO
2
70
LEFT
LEFT
RIGHT
RIGHT
4
MAX
LEVEL
OO
PUSH
TO TALK
SOLO
3
71
AUX 1-4
MAIN
Plate Reverb
13
Chorus
2
Vocal Plate
14
Chorus + Reverb
3
Warm Room
15
Doubler
4
Bright Room
16
Tape Slap
5
Warm Lounge
17
Delay 1 Brt 350ms
6
Small Stage
18
Delay 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 Reverb
24
Reverb + Dly 200ms
The knob also offers a tap delay function for presets
17-24. This works as follows:
1. Use the knob to select a preset from 17 to 24.
2. Press the knob in at least two times.
The DSP processor will calculate the time delay
between the last two pushes, and it will assign
this time interval to the echoes of the current
digital delay.
The minimum tap delay is 50 ms and the maximum is 500 ms.
MAIN MIX
dB
dB
dB
dB
dB
10
10
10
10
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
74
MAX
PHONES
OO
TALKBACK
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
73
69
1
75
• If your taps are faster than 50 ms, they will
be set to 50 ms.
• If taps are 500 ms to 1 second, they will be
set to 500 ms.
• If taps are greater than 1 second apart,
they will be ignored. Try again a bit faster.
3. The LED will flash in time with the new tap
delay time.
66. INTERNAL FX MUTE
When engaged, the internal effects processor is
muted, and its output will not appear on the main mix,
monitor mix...or anywhere for that matter. The adjacent
mute LED will come on as a reminder that the effects
are muted. When power is first applied, these LEDs will
illuminate and the FX will be muted for about 10 seconds while the little FX gerbils inside settle down.
65. PRESET SELECTOR, TAP DELAY and LED
Rotate these endless controls to select one of the 24
preset effects. When the rotation stops, that preset will
be loaded and become operational. The current preset
number is shown in the display [64]. The different
presets are shown in the table below and on the silkscreen in the upper right hand corner of the VLZ3 4•Bus mixer. Further details of each preset are
explained in Appendix E on page 37.
If this switch is not engaged, then the internal effects
are set free and may be added as required to the main
mix, monitor mix and last two stereo channels.
67. SOLO LEVEL
This knob is used to adjust the volume of the soloed
signal as it is routed to the monitor [15, 16] and phones
[17] outputs. This control is independent of, and prior
to, the monitor [68] and phones [69] level controls.
Owner's Manual 25
68. MONITOR LEVEL
This knob is used to adjust the volume at the monitor
output [15, 16], from off to maximum gain (max).
69. PHONES LEVEL
This knob is used to adjust the volume at the phones
output [17], from off to maximum gain (max). If solo
is not active, the monitor, phones and meter are fed the
post-fader main mix signal.
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 this
control all the way down before connecting headphones,
or pressing a solo switch [41, 49, 53, 55, 73], or doing
anything new that may affect the headphone volume.
Then turn it up slowly as you listen carefully.
70. TALKBACK LEVEL
Use this knob to control the level of the talkback signal being routed to the main mix or aux 1-4 outputs,
from the internal microphone.
1. Start with this control turned down.
2. Select the destination, either main mix and/or
aux 1-4 [71], and make sure that their levels
are already set nicely, using the main mix fader
[75] or aux masters [52].
3. Slowly turn this control up until you get confirmation from whoever is listening that
they can hear and obey your every command.
Once you have set the level, you can leave it there for
the duration of the session or gig.
71. PUSH TO TALK: MAIN, AUX 1-4
Push in the main switch to route the talkback signal
to the main outputs. Use this to communicate with the
talent in the studio through the headphones during a
recording session.
The aux 1-4 switch routes the talkback signal to the
aux send 1-4 outputs [13]. Use this to communicate
with the musicians through their stage monitors when
you are setting up a live performance.
It is fine to have both destination switches pushed in
at the same time, so the talkback signal will be routed
to both destinations. But if you don’t have either of the
destination switches engaged, the talkback signal won’t
go anywhere. You might as well be talking to a brick
wall.
26 VLZ3 4•Bus
NOTE: The talkback destination switches
are latching switches, not momentary. In
other words, there 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 may hear your unflattering remarks
regarding their choice of apparel.
NOTE #2: The talkback will not work unless
you have a microphone attached to the talkback mic input [19].
72. COMPRESSOR
Each of the four groups in the VLZ3 4•Bus mixer has
an in-line compressor circuit with a variable threshold. This is very useful for compression of vocals,
and snare drums, for example. See page 17 for an entire
page (and a graph even!) dedicated entirely to explaining compression.
73. GROUPS ASSIGN
One popular use of the groups is to use them as master faders for a group of channels on their way to the
main mix [75]. Let us say you have a drum kit hogging
up seven channels and you are going to want to control
their group volume more conveniently. You do not want
to try that with seven hands or seven fingers, so just un-assign these channels from the main mix and
reassign them to groups 1-2, engage the assign to main
mix left on group 1 and assign to main mix right on
group 2. Now you may ride the entire drum mix with two
faders - groups 1 and 2.
If you engage just one assign to main mix button per
group (left or right), the signal sent to the main mix
[75] will be the same level as the group outs [11]. If
you want the subgroup to appear in the center of the
main mix, engage both the assign to main mix left and
right buttons. The signal will be sent to both sides, and
reduced in level by 3 dB like a pan pot, so the overall
level is the same, whether the group is assigned to main
left, main right, or both.
Each group may also be soloed. This does not mean
that each member of a group gets their shot at a solo
and stardom. Rather, this allows you to listen to the
group in isolation via monitor outputs or headphones.
Being an output, these signals are AFL.
Groups 1-2 and 3-4 are paired together for purposes of
solo and work together differently in pfl and afl modes.
In pfl mode, since pfl is a mono bus, soloing Group 1 by
itself, Group 2 by itself or both together will result in the
same level solo signal, monaurally (assuming Groups 1
and 2 have the same levels of signal).
Afl is a stereo solo bus, so in afl mode, soloing Group 1
by itself places the signal on the left, Group 2 shows up
on the right, and soloing both yields a stereo image, with
Group 1 on the left and Group 2 on the right, and each
reduced by 3 dB, not unlike using one of the channels'
pan pots to center the signal. Groups 3 and 4 function
similarly.
Solo signals reaching the headphones and
monitor outputs are not affected by the channel level or main level; therefore, turn
down the phones level [69] and monitor level [68] first,
as soloed channels may be loud.
The rude solo light [59] will turn on as a reminder
that what you are listening to in the headphones is just
the soloed group(s).
74. GROUP 1-4 FADERS
As you might expect, these faders control the levels
of the signals sent to the group outs [11]. All channels
that are assigned to groups, not muted, and not turned
fully down will appear at the group outs.
The group signal is off when its fader is fully down,
the "U" marking is unity gain, and fully up provides 10
dB additional gain. Remember that if you are treating
two groups as a stereo pair, group 1 and 2 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 1/4" main line-level outputs [7], and the tape outputs [6].
This gives you the ultimate feeling of power and
control over the sound levels sent to your audience.
Adjust this control carefully, with your good eye on the
meters to check against overloading, and your good
ear to the levels to make sure your audience (if any) is
happy.
The main mix signals are off with the fader fully down,
the “U” marking is unity gain, and fully up provides 10
dB of additional gain. This additional gain will typically
never be needed, but once again, it’s nice to know that
it’s there. The fader is stereo, as it affects both the left
and right of the main mix equally. This is the ideal control to slowly bring down at the end of a song (or
quickly in the middle of a song if the need ever arises).
This control does not affect the aux outputs [13].
This does, however, conclude the main portion of the
owner's manual. From here on out it's all appendices.
You should pour yourself a cold, frosty one and pat yourself on the back for making it here!
Ok, congratulations are now over. Time to plug in your
VLZ3 4•Bus mixer, power it on, and start twiddlin' some
knobs!
Owner's Manual 27
Appendix A: Service
Information
If you think your mixer has a problem, please check
out the following troubleshooting tips and do your best
to confirm the problem. Visit the Support section of our
website (www.mackie.com) where you will find lots of
useful information such as FAQs, documentation and
any updated PC drivers etc. You may find the answer to
the problem without having to send your mixer away.
Noise
Troubleshooting
Power
Bad Channel
• Is the channel EQ set up nicely?
• Is the channel gain set correctly?
• Is the channel level up enough?
• Is the channel OL led on?
• Is the channel pan set in the middle?
• Try the same source signal in another channel,
set up exactly like the suspect channel.
• Is phantom power required for your microphone?
Bad Output
• Is the main level turned up?
• Are the EQs set to reasonable levels?
• Are any aux returns maxed out?
• Unplug anything from the other line-level
outputs, such as monitor out, just in case one of
your external pieces has a problem.
• Make sure that you are not overdriving your
amplifiers. Check the loudspeaker average load
impedance is not less than the minimum your
amplifier can handle. Check the speaker wiring.
28 VLZ3 4•Bus
• 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.
• The power LED should come on if the mixer is
connected to a suitable live AC mains outlet,
and the power switch is on. Check to make sure
that the power cord is securely plugged in.
Repair
For warranty service, refer to the warranty information on page 38.
Non-warranty service for Mackie products is available at a factory-authorized service center. To locate your nearest service center, visit www.mackie.com, click “Support” and select “Locate
a Service Center.” Service for Mackie products living
outside the United States can be obtained through local
dealers or distributors.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211, Monday-Friday during normal business hours, Pacific
Time, to explain the problem. Tech Support will tell you
where the nearest factory-authorized service center is
located in your area.
Appendix B: Connections
“XLR” Connectors
Mackie mixers use 3-pin female “XLR” connectors on
all microphone inputs, with pin 1 wired to the grounded
(earthed) shield, pin 2 wired to the “high” (”hot” or
positive polarity) side of the audio signal and pin 3
wired to the “low” (“cold” or negative polarity) side of
the signal. See Figure A.
Use a male “XLR”-type connector, usually found on the
nether end of what is called a “mic cable,” to connect to
a ­female XLR jack.
2
SHIELD
HOT
• Unbalanced Send/Return circuits. When wired
as send/return “Y” connector, a 1⁄4" TRS jack
or plug is connected tip to signal send (output
from mixer), ring to signal return (input back
into mixer), and sleeve to ground (earth).
1⁄4"
TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connections available on a “mono” 1⁄4" phone jack or plug. See Figure C.
SLEEVE
COLD
SHIELD
SLEEVE
TIP
1
3
1
TIP
TIP
COLD 3
HOT
1
3
SLEEVE
2
SHIELD
COLD
2
HOT
Figure A: XLR Connectors
1⁄4"
TRS Phone Plugs and Jacks
SLEEVE
SLEEVE
TIP
“TRS” stands for Tip-Ring-Sleeve,
the three
TIP
­connections available on a “stereo” 1⁄4" or “­TIPbalanced”
phone jack or plug. See Figure B.
SLEEVE
TRS jacks and plugs are used in several different
­­
applications:
RING SLEEVE
SLEEVE RING TIP
TIP
RING
TIP
SLEEVE
Figure B: 1⁄4" TRS Plugs
• Balanced mono circuits. When wired as a balanced connector, a 1⁄4" TRS jack or plug
is connected tip to signal high (hot), ring to
signal low (cold), and sleeve to ground (earth).
• Stereo Headphones, and rarely, stereo microphones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug is
connected tip to left, ring to right and sleeve to
ground (earth). Mackie mixers do not directly
accept 1-plug-type stereo micro­phones. They
must be separated into a left cord and a right
cord, which are plugged into two mic preamps.
Figure C: TS Plug
TS jacks and plugs areRING
used
in many
different
SLEEVE
SLEEVE RING TIP
­applications, always unbalanced. The tip is connected to
TIP
the audio signal and the sleeve
to ground (earth). Some
RING
examples:
• Unbalanced microphones
TIP
SLEEVE
• Electric guitars and electronic instruments
• Unbalanced line-level connections
• Speaker connections
Don’t use guitar cords for speaker cables!
They’re not designed to handle speaker-level
signals and could overheat.
RCA Plugs and Jacks
RCA-type plugs (also known as phono plugs) and
jacks are often used in home s­ tereo and video equipment and in many other applications (Figure D).
They are u­ nbalanced and electrically identical to a 1⁄4"
TS phone plug or jack. See Figure C. Connect the signal
to the center post and the ground (earth) or shield to
the surrounding “basket.”
SLEEVE TIP SLEEVE TIP
Figure D: RCA Plug
Figure E: Does not appear in this owner's manual, due
to a contractual obligation, but performs nightly at the
downtown Woodinville Cocoa Rooms and Tea Bar
Owner's Manual 29
TRS Send/Receive Insert Jacks
Mackie’s single-jack inserts are the three-­conductor,
TRS 1⁄4" phone type. They are unbalanced, but have
both the mixer output (send) and the mixer input
­(return) signals in one connector. See Figure F.
tip
ring
SEND to processor
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
Figure F
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the e­ xternal unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
Using the Send-only on an Insert Jack
If you insert a TS (mono) 1⁄4" plug only p­ artially (to
the first click) into a Mackie i­ nsert jack, the plug will
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 channel signal without
interrupting normal operation.
If you push the 1⁄4" TS plug in to the second click, you
will open the jack switch and create a d­ irect out, which
does interrupt the signal in that channel. See Figure G.
NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure G
30 VLZ3 4•Bus
Appendix C: Technical Information
Specifications
Noise Characteristics:
4-Band Equalization (stereo channels)
(Mic in to Insert Send out, max gain.)
Low: ±15 dB @ 80 Hz
Low-Mid: ±15 dB @ 400 Hz
High-Mid: ±15 dB @ 2.5 kHz
High: ±15 dB @ 12 kHz
150 ohm termination: –129.0 dBu
(20 Hz–20 kHz bandwidth, 1/4" Main out, channel gains @
unity gain, channel EQs flat, all channels assigned to Main Mix,
odd channels panned left, even channels panned right.)
Main Mix fader unity, channel faders down:
2404: –87.0 dBu (–91.0 dB Signal to Noise Ratio, ref +4 dBu)
3204: –84.5 dBu (–88.5 dB Signal to Noise Ratio, ref +4 dBu)
USB
Format:
USB 1.1
Main Mix fader unity, channel faders @ unity:
2404: –81.5 dBu
3204: –80.0 dBu
I/O:
Stereo Input, 4 Channel Output
A/D/A:
24 bit, 44.1 kHz / 48 kHz
Frequency Response:
(Mic input to any output.)
20 Hz to 50 kHz: +0 dB / –1 dB
20 Hz to 100 kHz: +0 dB / –3 dB
Distortion (THD+N):
(1 kHz 15 dB gain, 20 Hz–20 kHz bandwidth)
Mic in to insert send: <0.001%
Mic in to Main Out:
<0.005%
Attenuation and Crosstalk:
(1 kHz relative to +10 dBu, 20 Hz–20 kHz bandwidth, Mic in, 1⁄4" Main Out, Gain @ unity.)
Input and Output Impedance:
Mic in: 2.7 kΩ
Channel Insert return: 2.5 kΩ
All other inputs: 10 kΩ or greater
Tape out: <10 Ω
All other outputs: 120 Ω
AC Power Requirements:
Power Consumption: 55 watts (2404-VLZ3)
65 watts (3204-VLZ3)
Universal AC Power Supply:
100 VAC – 240 VAC, 50-60 Hz
Channel Mute switch engaged: –90 dBu
Physical Dimensions and Weight
Channel Fader down: –88 dBu
Front Height:
Rear Height:
1.8 in / 46.3 mm (both)
6.0 in / 153 mm (both)
Common Mode Rejection Ratio (CMRR):
Depth:
19.1 in / 486 mm (both)
(Mic in to Insert Send out, max gain.)
Width:
29.4 in / 748 mm (2404-VLZ3)
38.0 in / 964 mm (3204-VLZ3)
Weight:
31 lb. / 14.1 kg (2404-VLZ3)
39 lb. / 17.7 kg (3204-VLZ3)
1 kHz: better than –70 dB
Maximum Input and Output Levels:
Mic in: +21 dBu
All other inputs: +21 dBu
Main Mix XLR out: +27 dBu
All other outputs: +21 dBu
3-Band Equalization (mono channels)
Low: ±15 dB @ 80 Hz
Mid:
±15 dB sweep 100 Hz–8 kHz
High: ±15 dB @ 12 kHz
Low Cut Filter:
18 dB/octave, –3 dB @ 100 Hz
LOUD Technologies Inc. is always striving to improve our products
by incorporating new and improved materials, components, and
manufacturing methods. Therefore, we reserve the right to change
these specifications at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of LOUD
Technologies Inc. All other brand names mentioned are trademarks
or registered trademarks of their respective holders, and are hereby
acknowledged.
Please check our website for any updates to this manual: www.mackie.com.
©2010 LOUD Technologies Inc. All Rights Reserved.
Owner's Manual 31
Dimensions
WEIGHT
39.0 lb
17.7 kg
MONITOR
6.0 in / 153 mm
PHONES
31/32
GROUP INSERTS
L
4
3
R
4
3
2
28
29/30
1
27
26
25
24
23
22
21
20
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
L
GROUP OUTS
MONITOR
INSERT
2
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
INSERT
1
R
AUX INSERTS
6
5
4
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
MIC 28
MIC 27
MIC 26
MIC 25
MIC 24
MIC 23
MIC 22
MIC 21
MIC 20
STEREO RETURNS
3
2
1
2
1
2
1
L
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
LINE IN
MIC 19
MIC 18
MIC 17
MIC 16
MIC 15
MIC 14
MIC 13
MIC 12
MIC 11
MIC 10
LINE IN
LINE IN
MIC 9
LINE IN
MIC 8
LINE IN
MIC 7
LINE IN
MIC 6
LINE IN
MIC 5
LINE IN
MIC 4
LINE IN
MIC 3
LINE IN
MIC 2
MIC 1
AUX SENDS
6
5
4
3
R
100-240VAC
50/60Hz 100W
RIGHT
TALKBACK
MIC
PHANTOM
ON
POWER
ON
INSERT
LEFT
MAIN OUT
LINE
INSERT
MONO
MAIN OUT
LINE
INSERT
MAIN OUT
TAPE
IN
LINE
L
3204
OUT
USB
OUTPUT
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
+6
LEVEL
R
6.0 in / 153 mm
1
GAIN
2
GAIN
3
GAIN
4
GAIN
5
GAIN
6
GAIN
7
GAIN
8
GAIN
9
GAIN
10
GAIN
11
GAIN
12
GAIN
13
GAIN
14
GAIN
15
GAIN
16
GAIN
17
GAIN
18
GAIN
19
GAIN
20
GAIN
21
GAIN
22
GAIN
23
GAIN
24
GAIN
25
GAIN
26
GAIN
27
GAIN
28
GAIN
29/30
GAIN
GAIN
U
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
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
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
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
PAD
-20dB
MAX
OFF
COMP
AUX
19.1 in / 486 mm
1
1
U
AUX
1
U
AUX
AUX
1
U
AUX
1
U
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
AUX
1
U
AUX
1
U
1
U
AUX
1
U
AUX
1
U
AUX
AUX
1
U
AUX
1
U
1
U
AUX
1
U
AUX
AUX
1
U
AUX
1
U
1
U
AUX
1
U
AUX
1
U
MAX
OFF
COMP
AUX
1
U
31/32
50%
U
+20
-20
25%
1
OFF
COMP
AUX
U
MAX
1
U
1
1
U
AUX
1
U
AUX MASTERS
1
U
2
+15
U
+15
U
3
+15
U
+15
U
4
+15
U
+15
U
+15
U
+15
U
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
5
+15
+15
PRE
5
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
+15
PRE
5
U
PRE
5
U
+15
+15
PRE
5
U
CH 3-4
+15
U
AUX
2
+15
U
AUX
3
+15
U
AUX
4
+15
U
MAIN
+15
U
6
+15
U
6
+15
6
U
+15
U
+15
+15
1
2
SOLO MODE
MID
MID
MID
-15 +15
FREQ
100
8k
100
U
1
R
R
3
4
R
100
5
6
100
R
7
R
8
R
R
11
100
12
R
13
R
R
16
17
R
18
R
19
100
20
R
21
R
22
8k
23
R
R
L
25
L
26
LOW
MID
400Hz
L
28
R
L
29/30
MUTE
MUTE
LOW
80Hz
-15 +15
BAL
L
10
5
SIG
U
SOLO
5
SOLO
10
SOLO
5
10
20
3-4
30
L/R
40
50
60
30
L/R
40
50
60
SOLO
5
10
SOLO
5
10
30
L/R
40
50
60
SOLO
5
10
30
L/R
40
50
60
SOLO
5
10
20
3-4
30
L/R
40
50
60
SOLO
5
30
L/R
40
50
60
SOLO
5
10
30
L/R
40
50
60
SOLO
10
30
L/R
40
50
60
SOLO
5
20
3-4
30
L/R
40
50
60
SOLO
5
10
30
L/R
40
50
60
SOLO
5
30
L/R
40
50
60
SOLO
10
30
L/R
40
50
60
SOLO
5
10
1-2
30
L/R
40
50
60
SOLO
5
20
3-4
30
L/R
40
50
60
SOLO
5
30
L/R
40
50
60
SOLO
5
10
30
L/R
40
50
60
SOLO
30
L/R
40
50
60
SOLO
30
L/R
40
50
60
SOLO
30
L/R
40
50
60
SOLO
30
L/R
40
50
60
SOLO
30
L/R
40
50
60
SOLO
30
L/R
40
50
60
SOLO
30
L/R
40
50
60
SOLO
30
L/R
40
50
60
5
10
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
R
MUTE
30
L/R
40
50
60
20
3-4
30
L/R
40
50
60
5
5
SOLO
5
L/R
5
SOLO
5
30
L/R
40
50
60
SOLO
10
U
SOLO
SOLO
PUSH
TO TALK
LEFT
LEFT
LEFT
AUX 1-4
RIGHT
RIGHT
2
10
4
10
23/24
GROUP INSERTS
L
4
3
R
4
3
2
20
21/22
1
5
5
U
U
20
3-4
30
L/R
40
50
60
5
5
5
5
19
INSERT
2
18
INSERT
17
INSERT
16
INSERT
15
INSERT
14
INSERT
13
INSERT
12
INSERT
11
INSERT
10
INSERT
9
INSERT
8
INSERT
7
INSERT
6
INSERT
5
INSERT
4
INSERT
3
INSERT
2
INSERT
10
10
10
10
20
20
20
20
30
30
30
30
30
L/R
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
1
INSERT
INSERT
1
R
AUX INSERTS
6
5
4
6
5
4
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 IN
LINE IN
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
STEREO RETURNS
3
2
1
2
1
2
1
L
AUX SENDS
3
R
RIGHT
TALKBACK
MIC
PHANTOM
ON
POWER
ON
INSERT
LEFT
MAIN OUT
LINE
INSERT
MONO
MAIN OUT
LINE
INSERT
MAIN OUT
IN
LINE
TAPE
L
2404
OUT
USB
OUTPUT
WARNING:
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
+6
LEVEL
R
6.0 in / 153 mm
1
GAIN
2
GAIN
3
GAIN
4
GAIN
5
GAIN
6
GAIN
7
GAIN
8
GAIN
9
GAIN
10
GAIN
11
GAIN
12
GAIN
13
GAIN
14
GAIN
15
GAIN
16
GAIN
17
GAIN
18
GAIN
19
GAIN
20
GAIN
GAIN
21/22
GAIN
U
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
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
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
PAD
-20dB
MAX
OFF
COMP
1
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
AUX
1
U
23/24
50%
U
+20
-20
25%
1
MAX
OFF
COMP
AUX
U
1
MAX
OFF
COMP
AUX
U
1
1
1
AUX
1
U
AUX MASTERS
1
U
2
+15
U
+15
U
3
+15
U
+15
U
4
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
2
+15
U
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
3
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
4
+15
U
5
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
+15
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
PRE
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
5
U
6
+15
U
CH 3-4
MAIN
MIX
STEREO RETURNS
U
LEFT RIGHT
U
AUX
1
AUX
U
3
5
USB OUT
CH 1-2
+20
TO MAIN
MAX
AUX
U
2404
100%
FX 2
COMP
AUX
U
SUCK
2-TRACK RETURN
U
FX 1
75%
0%
+20
USB
OFF
AUX
-20
+15
U
AUX
2
+15
U
AUX
3
+15
U
AUX
4
+15
U
MAIN
0 dB=0 dBu
RUDE SOLO
6
+15
1
2
SOLO MODE
+15
+15
+15
INT FX
AUX 5/6
EQ
100
8k
8k
100
U
U
100
100
100
100
100
100
100
100
100
100
100
100
100
LOW
MID
400Hz
LOW
80Hz
-15 +15
PAN
R
L
R
L
2
R
L
3
R
L
4
R
L
5
R
L
6
R
L
7
R
L
8
R
L
9
R
L
10
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
-15 +15
BAL
BAL
10
5
10
SIG
U
5
5
SOLO
10
5
5
SOLO
30
L/R
40
50
60
SIG
5
5
SOLO
30
L/R
40
50
60
SIG
5
5
SOLO
30
L/R
40
50
60
SIG
5
5
SOLO
30
L/R
40
50
60
SIG
R
L
11
R
L
12
R
L
13
R
L
14
L
R
15
R
L
16
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
5
5
SOLO
30
L/R
40
50
60
5
5
SOLO
30
L/R
40
50
60
5
5
SOLO
30
L/R
40
50
60
SIG
5
5
SOLO
30
L/R
40
50
60
SIG
5
5
SOLO
30
L/R
40
50
60
SIG
5
10
5
SIG
U
SOLO
10
R
L
17
R
L
18
R
L
19
R
L
20
R
L
21/22
5
SOLO
10
20
3-4
30
L/R
40
50
60
5
30
L/R
40
50
60
5
5
SOLO
30
L/R
40
50
60
5
5
SOLO
30
L/R
40
50
60
SIG
5
5
SOLO
30
L/R
40
50
60
5
5
SOLO
L/R
40
50
60
SIG
5
5
SOLO
30
L/R
40
50
60
5
5
SOLO
30
L/R
40
50
60
SIG
R
MUTE
5
5
SOLO
30
L/R
40
50
60
5
5
SOLO
30
L/R
40
50
60
SIG
5
5
SOLO
30
L/R
40
50
60
SIG
5
SOLO
10
MAX
TO MAIN
U
MAX
PHONES
TALKBACK
U
MAX
LEVEL
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
SOLO
PUSH
TO TALK
SOLO
SOLO
LEFT
LEFT
LEFT
LEFT
RIGHT
RIGHT
RIGHT
RIGHT
2
3
10
10
4
10
AUX 1-4
MAIN
MAIN MIX
10
5
5
5
5
5
U
U
U
U
U
5
10
5
10
5
10
5
10
5
10
1-2
1-2
20
3-4
10
U
10
1-2
20
3-4
10
U
10
1-2
20
3-4
SIG
MAX
MONITOR
U
MAX
TO MAIN
OL
OL
10
U
10
1-2
20
3-4
10
U
10
1-2
20
3-4
SIG
OL
OL
10
U
10
1-2
30
10
U
20
3-4
29.4 in / 748 mm
32 VLZ3 4•Bus
SIG
10
1-2
20
3-4
10
U
10
1-2
20
3-4
10
U
10
1-2
20
3-4
SIG
U
10
1-2
20
3-4
SIG
10
OL
OL
OL
MAX
TO AUX 2
U
23/24
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
OL
OL
10
U
1-2
1-2
20
3-4
10
U
10
1-2
20
3-4
10
U
10
1-2
20
3-4
10
U
10
1-2
20
3-4
SIG
U
10
1-2
20
3-4
SIG
10
OL
OL
OL
OL
OL
OL
10
U
10
1-2
20
3-4
10
U
10
1-2
20
3-4
10
U
10
1-2
20
3-4
10
U
10
1-2
20
3-4
10
U
10
1-2
40
50
60
SIG
U
20
30
10
OL
OL
OL
OL
OL
OL
U
MAX
TO AUX 2
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
1
OL
U
GROUPS
SOLO
L
1
MUTE
U
MAX
SOLO
U
-15 +15
U
LOW
80Hz
-15 +15
PAN
HI
MID
2.5k
LOW
MID
400Hz
LOW
80Hz
LOW
80Hz
-15 +15
PAN
U
MAX
TO AUX 1
-15 +15
U
-15 +15
U
8k
U
LOW
80Hz
-15 +15
PAN
8k
U
LOW
80Hz
-15 +15
PAN
100
8k
U
LOW
80Hz
-15 +15
-15 +15
PAN
100
8k
U
MAX
SEND MASTER
-15 +15
U
HI
MID
2.5k
-15 +15
U
FREQ
U
MAX
TO AUX 1
HI
12k
-15 +15
U
MID
-15 +15
FREQ
FX 2
U
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
U
LOW
80Hz
-15 +15
PAN
100
8k
U
LOW
80Hz
-15 +15
PAN
100
8k
U
LOW
80Hz
-15 +15
PAN
8k
-15 +15
U
MID
-15 +15
FREQ
FX 1
INT FX
AUX 5/6
EQ
U
HI
12k
MAX
SEND MASTER
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
U
LOW
80Hz
-15 +15
PAN
8k
U
LOW
80Hz
-15 +15
PAN
8k
U
LOW
80Hz
-15 +15
PAN
8k
U
LOW
80Hz
-15 +15
PAN
8k
MID
-15 +15
FREQ
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
-15 +15
U
MID
-15 +15
FREQ
INT FX
AUX 5/6
EQ
U
HI
12k
+15
+15
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
U
LOW
80Hz
-15 +15
PAN
8k
U
LOW
80Hz
-15 +15
PAN
8k
U
LOW
80Hz
-15 +15
PAN
8k
U
LOW
80Hz
-15 +15
PAN
8k
U
LOW
80Hz
-15 +15
PAN
8k
U
LOW
80Hz
-15 +15
PAN
8k
U
LOW
80Hz
LOW
80Hz
-15 +15
PAN
8k
U
-15 +15
U
MID
-15 +15
FREQ
INT FX
AUX 5/6
EQ
U
HI
12k
+15
+15
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
FREQ
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
MID
-15 +15
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
INT FX
AUX 5/6
EQ
U
HI
12k
100
+15
INT FX
AUX 5/6
EQ
U
20
3-4
30
L/R
40
50
60
20
20
20
20
20
3-4
30
30
30
30
30
L/R
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
5
10
20
3-4
L
GROUP OUTS
10
5
U
WEIGHT
MONITOR
MAIN MIX
5
U
31.0 lb
14.1 kg
PHONES
MAIN
RIGHT
3
10
5
U
38.0 in / 964 mm
MONITOR
MAX
LEVEL
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
SOLO
LEFT
1-2
1-2
20
3-4
10
SIG
U
10
1-2
30
40
50
60
TALKBACK
SOLO
RIGHT
10
SIG
U
20
3-4
U
MAX
PHONES
MAX
TO MAIN
OL
OL
10
SIG
10
1-2
20
3-4
SOLO
10
1-2
20
3-4
5
U
U
31/32
MUTE
10
SIG
U
1-2
20
3-4
5
10
1-2
20
3-4
5
SIG
U
5
10
1-2
20
3-4
5
10
1-2
20
3-4
10
5
SIG
U
OL
OL
10
5
SIG
U
5
10
1-2
20
3-4
OL
10
5
SIG
U
5
10
1-2
20
3-4
OL
10
5
SIG
U
5
10
1-2
20
3-4
5
10
1-2
20
3-4
10
5
SIG
U
OL
OL
10
5
SIG
U
5
10
1-2
20
3-4
10
5
SIG
U
OL
OL
10
5
SIG
U
1-2
1-2
20
3-4
OL
10
5
SIG
U
10
1-2
20
3-4
10
5
SIG
U
OL
OL
10
5
SIG
U
5
10
20
3-4
OL
10
5
SIG
U
1-2
20
3-4
OL
10
5
SIG
U
1-2
1-2
20
3-4
10
5
SIG
U
OL
OL
10
5
SIG
10
1-2
20
3-4
10
5
U
5
10
1-2
20
3-4
SIG
U
OL
OL
10
5
SIG
U
1-2
1-2
20
3-4
10
5
SIG
U
OL
OL
10
5
SIG
U
1-2
1-2
20
3-4
10
5
SIG
U
OL
OL
10
5
SIG
U
1-2
20
3-4
OL
10
5
SIG
U
1-2
1-2
30
40
50
60
10
5
SIG
OL
OL
10
5
U
5
10
20
OL
OL
10
5
SIG
U
MAX
MONITOR
U
GROUPS
1
OL
OL
10
U
MAX
TO AUX 2
MAX
TO MAIN
LOW
MID
400Hz
-15 +15
BAL
R
U
MAX
SOLO
U
MAX
TO AUX 2
-15 +15
U
LOW
80Hz
LOW
80Hz
-15 +15
PAN
R
27
MUTE
MUTE
MUTE
LOW
80Hz
-15 +15
PAN
R
HI
MID
2.5k
-15 +15
U
-15 +15
U
8k
U
U
MAX
TO AUX 1
U
HI
12k
HI
MID
2.5k
FREQ
100
8k
LOW
80Hz
-15 +15
PAN
L
24
MUTE
100
U
LOW
80Hz
-15 +15
PAN
L
FREQ
8k
U
LOW
80Hz
-15 +15
R
100
U
PAN
L
MUTE
MUTE
MUTE
100
LOW
80Hz
-15 +15
PAN
L
FREQ
FREQ
8k
U
LOW
80Hz
-15 +15
PAN
L
100
U
MAX
SEND MASTER
-15 +15
U
-15 +15
U
-15 +15
-15 +15
FX 2
U
MAX
TO AUX 1
U
HI
12k
-15 +15
U
MID
MID
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
R
-15 +15
FREQ
8k
U
PAN
L
MUTE
MUTE
100
LOW
80Hz
-15 +15
BAL
L
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
PAN
L
MUTE
MUTE
MUTE
R
100
MID
MID
MID
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
PAN
L
-15 +15
FREQ
100
8k
U
LOW
80Hz
-15 +15
PAN
L
100
MID
MID
MID
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
R
15
MUTE
100
MID
-15 +15
-15 +15
FREQ
8k
U
PAN
L
14
MUTE
MUTE
100
LOW
80Hz
-15 +15
PAN
L
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
PAN
L
100
MID
MID
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
R
-15 +15
FREQ
8k
U
PAN
L
MUTE
MUTE
100
LOW
80Hz
-15 +15
PAN
L
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
R
10
MUTE
100
MID
MID
MID
-15 +15
FREQ
8k
U
PAN
L
9
MUTE
MUTE
100
LOW
80Hz
-15 +15
PAN
L
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
PAN
L
100
MID
MID
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
PAN
L
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
R
MUTE
MUTE
100
MID
MID
-15 +15
FREQ
8k
U
PAN
L
-15 +15
FREQ
8k
LOW
80Hz
-15 +15
PAN
L
MUTE
100
U
LOW
80Hz
-15 +15
R
-15 +15
FREQ
8k
U
PAN
L
MUTE
MUTE
100
MID
MID
MID
-15 +15
FREQ
8k
LOW
80Hz
-15 +15
PAN
L
2
MUTE
100
U
LOW
80Hz
-15 +15
PAN
L
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
PAN
R
100
MID
MID
-15 +15
FREQ
8k
U
LOW
80Hz
-15 +15
PAN
-15 +15
FREQ
FREQ
8k
U
MID
MID
-15 +15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
FX 1
U
MAX
SEND MASTER
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
HI
12k
-15 +15
U
+15
U
6
+15
INT FX
AUX 5/6
EQ
U
L
+15
U
6
+15
INT FX
AUX 5/6
EQ
100
6.0 in / 153 mm
0 dB=0 dBu
RUDE SOLO
PRE
5
U
+15
-15 +15
19.1 in / 486 mm
MAIN
MIX
LEFT RIGHT
U
AUX
1
+15
PRE
5
U
USB OUT
CH 1-2
STEREO RETURNS
U
AUX
U
3204
100%
+20
TO MAIN
MAX
AUX
SUCK
2-TRACK RETURN
FX 2
COMP
AUX
75%
0%
+20
U
FX 1
USB
OFF
AUX
-20
1.8 in / 46.3 mm
1.8 in / 46.3 mm
Phantom Power
Mic
Line
Phantom Power
Line
Mic
+
-
+
L
R
-20dB pad
Gain
-
+
bypass
HPF In
HPF
HPF
100Hz
bypass
HPF In
100Hz
Mic: 0 ~ +60dB
Line: -15 ~ +45dB
+
Gain
-
Gain
Mic: 0 ~ +60dB
Line: -15 ~ +45dB
(Second stereo
channel only)
-20 ~ +20dB
Comp
Insert
-20 Sig (flicker)
solo (on)
80
LO
100~8K
MID
12K
HI
OL (flicker)
mute (on)
3-Band EQ
w/ Swept Mid
12K
Mute
Level
OL (flicker)
mute (on)
Mute
Level
post
pre
post
pre
Pan
Pan
2 track Input
Level
Assign
L/R
1/2
3/4
FX2
Aux 6
FX1
Aux 5
Aux 3
Aux 2
Aux 4
Aux 1
Solo
Assign
L/R
1/2
3/4
FX1
Aux 6
FX2
Aux 5
Aux 4
Aux 3
Aux 2
Aux 1
Solo
Solo
AFL solo L
AFL solo R
AFL solo L
AFL solo R
-20 Sig (flicker)
solo (on)
4-Band EQ
2.5K
HI
HI
400
MID
12K
MID
80
MID
2.5K
MID
LO
400
LO
80
Tape
USB
To Main Mix
PFL Solo
FX 1
FX 2
FX1
FX 2
PFL solo
Phantom Power
(To All Mics)
Line
FX 1
USB
-
+
+
Solo
Aux 1
Sub
3
4
Aux 1 (pre)
Aux 2
Aux 3
Aux 2 (pre)
Aux 3 (pre/post)
3
4
Global 48v
48V Switch/LED
Mono Channels
1-16 (2404)
1-24 (3204)
Mono Channels
17-20 (2404)
25-28 (3204)
L
R
-
Int FX 1 Out L
Int FX 1 Out R
(FX2 on 2 nd st ch.)
Stereo Channels
21/22 & 23/24 (2404)
29/30 & 31/32 (3204)
Tape Input
USB
In
L
R
-
To Aux 1
To Aux 3
To Aux 2
To Aux 4
Aux1-4
L-R
2
Sub
Hudson River
Central Park
Talkback
Level
Talkback
Assign
R
1
R
1
2
M ain
L
L
Main
Stereo
Return 1 & 2
Block Diagram
Aux 6 (post)
Aux 4
Aux 4 (pre/post)
Aux 5
Aux 6
Aux 5 (post)
L Insert
R
L
Sub 1
Sub 2
Sub 4
Sub 3
Insert
Insert
Solo
Level
L sum
Meter
Select
Solo Logic
R Insert
Solo
R sum
AFL Solo
L
PFL Solo
R
AFL
PFL
Solo mode
Comp
Sub Assign To
Main Mix
L
R
Solo (1&3)
Solo (2&4)
Sub 1 sum
Aux 1 sum
Solo
Aux1
Aux2
Main
(To first stereo channel)
Internal FX 1
(Internal FX 2 identical except
returns to second stereo
channel)
to USB 3-4
Sub 3-4
Aux 5-6
Monitor
Level
Sig/OL
Phones
Level
In
Out R
FX 1
Out L
RUDE
SOLO
LED
Mono level
Mono Insert
Sub 1-2
Main L-R
to USB 1-2
Main
level
Aux 5
Aux 6
Sub 1 level
Aux 1 Level
FX 1 master level
Active
FX Mute
FX 1 Bypass
Logic
R
Main Out
L
Mono Out
L
R
Tape Out
USB Out
Mono
L
Monitor Out
R
Phones
(Sub 2-4 identical)
Sub 1 Out
(Aux 2-6 identical)
Aux 1 Out
Preset select
Tap
FX
Preset
Display
Owner's Manual 33
X
Track Sheet - Mono Channels
X
GAIN
-10 dBV
GAIN
-10 dBV
C GAIN
MI
U
X
GAIN
-10 dBV
C GAIN
MI
U
X
GAIN
-10 dBV
C GAIN
MI
U
X
GAIN
-10 dBV
C GAIN
MI
U
X
GAIN
-10 dBV
C GAIN
MI
U
X
GAIN
-10 dBV
C GAIN
MI
U
X
GAIN
-10 dBV
C GAIN
MI
U
X
GAIN
-10 dBV
C GAIN
MI
U
X
GAIN
-10 dBV
C GAIN
MI
U
X
GAIN
-10 dBV
C GAIN
MI
U
X
GAIN
-10 dBV
C GAIN
MI
U
C GAIN
MI
U
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45d
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
OFF
MA
COMP
AUX
1
2
AUX
1
U
PRE
OO
PRE
OO
3
OO
4
+15
U
2
3
+15
U
4
OO
OO
+15
OO
OO
PRE
+15
U
5
OO
6
5
OO
6
FX2
+15
+15
U
3
+15
U
4
OO
OO
+15
EQ
5
200
+15
EQ
200
U
R
L
5
10
5
dB
+15
U
5
EQ
U
OO
OO
+15
5
+15
U
EQ
5
5
R
5
+15
U
dB
5
5
EQ
U
OO
OO
+15
5
+15
U
EQ
5
5
R
5
+15
U
dB
5
EQ
U
+15
6
+15
200
2k
8k
100
LOW
80Hz
-15 +15
-15 +15
PAN
R
L
PAN
R
L
X
dB
MUTE
OL
10
5
5
SIG
5
U
SOLO
10
1-2
20
dB
10
U
SOLO
5
10
1-2
20
20
3-4
30
3-4
30
3-4
30
3-4
30
3-4
30
3-4
30
3-4
30
3-4
30
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
34 VLZ3 4•Bus
OO
OO
OO
OO
R
XX
MUTE
SIG
8k
U
30
OO
U
-15 +15
800
FREQ
3-4
OO
+15
-15 +15
U
30
OO
OO
EQ
U
3-4
OO
+15
U
INT FX
AUX 5/6
30
OO
OO
FX2
3-4
OO
U
U
OL
+15
PRE
30
OO
+15
U
OO
+15
U
100
10
1-2
OO
5
200
2k
U
5
+15
U
MID
FREQ
10
5
OO
FX1
-15 +15
800
MUTE
20
4
LOW
80Hz
dB
+15
U
-15 +15
U
8k
L
OO
HI
12k
X
10
1-2
+15
U
MID
R
SOLO
3
OO
-15 +15
SIG
+15
U
INT FX
AUX 5/6
PAN
U
5
OO
6
U
OL
2
PRE
U
FX2
+15
100
10
20
5
200
U
PRE
FX1
-15 +15
800
FREQ
2k
+15
U
OO
-15 +15
U
MUTE
SOLO
OO
+15
1
PRE
HI
12k
8k
L
10
1-2
20
EQ
U
X
U
4
OO
-15 +15
SIG
+15
U
OO
INT FX
AUX 5/6
PAN
OL
3
LOW
80Hz
MUTE
dB
OO
6
U
10
+15
U
U
FX2
+15
100
X
10
1-2
+15
U
200
OO
PRE
MID
8k
L
2
AUX
U
PRE
5
-15 +15
800
FREQ
2k
+15
U
OO
FX1
LOW
80Hz
R
SOLO
OO
+15
1
PRE
HI
12k
-15 +15
U
4
-15 +15
U
PAN
SIG
+15
U
OO
MID
MUTE
5
3
OO
U
OL
+15
U
INT FX
AUX 5/6
LOW
80Hz
dB
OO
6
U
100
OO
PRE
U
FX2
+15
200
10
2
AUX
U
PRE
FX1
-15 +15
800
FREQ
2k
+15
U
OO
-15 +15
U
8k
L
20
4
1
PRE
HI
12k
X
SOLO
+15
U
OO
-15 +15
SIG
3
INT FX
AUX 5/6
PAN
10
1-2
OO
6
U
OL
+15
U
MID
R
OO
PRE
U
FX2
+15
100
U
20
5
200
10
2
AUX
U
PRE
FX1
-15 +15
800
FREQ
2k
+15
U
OO
-15 +15
U
MUTE
SOLO
OO
+15
1
PRE
HI
12k
8k
L
10
1-2
20
EQ
U
X
U
4
OO
-15 +15
SIG
+15
U
OO
INT FX
AUX 5/6
PAN
OL
3
LOW
80Hz
MUTE
dB
OO
6
U
10
+15
U
U
FX2
+15
100
X
10
1-2
+15
U
200
OO
PRE
MID
8k
L
2
AUX
U
PRE
5
-15 +15
800
FREQ
2k
+15
U
OO
FX1
LOW
80Hz
R
SOLO
OO
+15
1
PRE
HI
12k
-15 +15
U
4
-15 +15
U
PAN
SIG
+15
U
OO
MID
MUTE
5
3
OO
U
OL
+15
U
INT FX
AUX 5/6
LOW
80Hz
dB
OO
6
U
100
OO
PRE
U
FX2
+15
200
10
2
AUX
U
PRE
FX1
-15 +15
800
FREQ
2k
+15
U
OO
-15 +15
U
8k
L
20
4
1
PRE
HI
12k
X
10
1-2
+15
U
OO
-15 +15
SOLO
3
INT FX
AUX 5/6
PAN
U
5
OO
6
U
SIG
+15
U
MID
R
OO
PRE
U
FX2
+15
100
OL
2
AUX
U
PRE
5
200
2k
+15
U
OO
FX1
-15 +15
800
FREQ
10
20
OO
-15 +15
U
MUTE
SOLO
OO
+15
1
PRE
HI
12k
8k
L
10
1-2
20
EQ
X
U
SOLO
4
LOW
80Hz
R
SIG
+15
U
OO
-15 +15
OL
3
INT FX
AUX 5/6
PAN
10
U
5
dB
OO
6
U
MUTE
MUTE
+15
U
U
FX2
+15
100
X
SIG
+15
U
200
OO
PRE
MID
-15 +15
X
5
5
-15 +15
800
FREQ
PAN
2
AUX
U
PRE
FX1
LOW
80Hz
-15 +15
+15
U
OO
U
U
OL
+15
1
PRE
HI
12k
8k
LOW
80Hz
dB
OO
-15 +15
U
2k
100
10
4
OO
MID
8k
L
+15
U
OO
U
-15 +15
800
FREQ
PAN
3
INT FX
AUX 5/6
-15 +15
U
2k
100
OO
6
FX2
MID
Q
+15
U
HI
12k
-15 +15
U
OO
PRE
U
FX1
HI
12k
-15 +15
800
2
AUX
U
PRE
INT FX
AUX 5/6
U
1
PRE
+15
U
OO
+15
U
OO
INT FX
AUX 5/6
EQ
OO
PRE
U
FX1
+15
U
OO
2
AUX
U
PRE
U
FX2
1
PRE
+15
U
OO
PRE
FX1
AUX
U
PRE
OO
Track Sheet - Comp & Stereo Channels and Master Section
X
AIN
XX
GAIN
-10 dBV
-10 dBV
C GAIN
MI
XX/XX
GAIN
U
U
C GAIN
MI
U
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
LOW CUT
100 Hz
8dB/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
XX/XX
GAIN
-10 dBV
C GAIN
MI
U
XX
GAIN
-10 dBV
C GAIN
MI
U
XX
GAIN
-10 dBV
C GAIN
MI
U
XX
GAIN
-20
+20
-20
50%
25%
12V
0.5A
+20
MAX
OFF
UX
AUX
1
U
OFF
1
OFF
1
1
AUX
1
U
PRE
MAX
COMP
AUX
U
PRE
MAX
COMP
AUX
U
PRE
MAX
COMP
AUX
1
U
PRE
AUX MASTERS
1
+15
U
2
OO
PRE
+15
U
2
OO
PRE
+15
U
2
OO
PRE
+15
U
2
OO
PRE
+15
U
2
OO
PRE
+15
U
OO
OO
2
PRE
+15
U
OO
3
OO
+15
U
OO
3
+15
U
OO
3
+15
U
OO
3
+15
U
OO
3
+15
U
OO
3
+15
U
OO
3
+15
U
OO
4
OO
+15
U
OO
4
+15
U
OO
4
+15
U
OO
4
+15
U
OO
4
+15
U
OO
4
+15
U
OO
4
+15
U
+15
OO
PRE
+15
OO
PRE
5
U
5
U
FX1
+15
OO
PRE
5
U
FX1
+15
OO
PRE
5
U
FX1
+15
OO
PRE
5
U
FX1
+15
OO
OO
5
U
FX1
OO
6
U
FX1
+15
U
SOLO
+15
U
SOLO
+15
U
OO
6
FX2
+15
U
OO
6
FX2
+15
U
OO
6
FX2
+15
U
OO
6
FX2
+15
U
OO
6
FX2
+15
U
OO
6
FX2
OO
OO
OO
+15
U
SOLO
+15
U
SOLO
+15
SOLO
+15
U
OO
+15
U
OO
AUX
2
+15
U
+15
OO
Q
+15
OO
INT FX
AUX 5/6
EQ
U
EQ
U
HI
12k
100
-15 +15
800
200
2k
8k
100
-15 +15
800
FREQ
200
8k
100
R
L
R
200
8k
L
EQ
U
AUX
3
+15
U
-15 +15
800
200
8k
100
AUX
4
+15
U
-15 +15
L
R
L
XX
MUTE
LOW
80Hz
-15 +15
BAL
L
+15
dB
OL
10
SIG
5
SIG
U
SOLO
5
dB
5
5
SIG
OL
R
L
XX/XX
1
2
SOLO
SOLO
5
5
SIG
OL
OO MAX
TO AUX 2
5
5
SIG
OL
5
5
SIG
dB
OL
5
SIG
U
SOLO
10
1-2
20
U
OO MAX
SEND MASTER
TAP
DELAY
U
MAX
SOLO
MAX
TO AUX 1
OO
OO
U
U
OO MAX
TO AUX 2
OO MAX
MONITOR
U
U
INT FX
MUTE
MAX
TO MAIN
MAX
PHONES
MAX
TO MAIN
OO
OO
OO
GROUPS
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
R
10
U
SOLO
10
1-2
20
dB
PFL
AFL
U
INT FX
MUTE
MUTE
10
U
SOLO
10
1-2
20
dB
SOLO MODE
TALKBACK
U
MAX
LEVEL
OFF
MAX
OFF
MAX
COMP
COMP
STEREO
OO
SOLO
SOLO
SOLO
SOLO
PUSH
TO TALK
LEFT
LEFT
LEFT
LEFT
AUX 1-4
RIGHT
RIGHT
RIGHT
RIGHT
XX/XX
MUTE
10
U
SOLO
10
1-2
20
dB
10
U
SOLO
10
1-2
OL
10
+15
U
OO MAX
TO AUX 1
1
OL
OO
0 dB=0 dBu
SIG/OL
LOW
MID
400Hz
LOW
80Hz
R
+15
U
-15 +15
U
BAL
MUTE
MUTE
-15 +15
U
-15 +15
XX
20
FX 2
TAP
DELAY
HI
MID
2.5k
-15 +15
U
PAN
10
LEVEL
SET
U
LOW
MID
400Hz
-15 +15
OO MAX
SEND MASTER
-15 +15
U
-15 +15
U
LOW
80Hz
2
+15
U
OO
MAIN
U
U
HI
MID
2.5k
8k
0
+15
U
HI
12k
-15 +15
U
FREQ
4
+15
HI
12k
U
LOW
80Hz
R
U
2k
U
OO
7
+15
U
4
OO
FX 1
INT FX
AUX 5/6
EQ
MID
FREQ
PAN
+15
HI
12k
-15 +15
U
2k
100
XX
MUTE
MUTE
-15 +15
800
-15 +15
XX
OO
INT FX
AUX 5/6
MID
FREQ
PAN
+15
HI
12k
LOW
80Hz
-15 +15
X
U
U
PAN
EQ
-15 +15
U
2k
LOW
80Hz
-15 +15
OO
INT FX
AUX 5/6
MID
U
LOW
80Hz
L
U
-15 +15
U
2k
U
AN
EQ
MID
FREQ
+15
HI
12k
-15 +15
U
MID
0
OO
INT FX
AUX 5/6
HI
12k
-15 +15
U
-15 +15
800
+15
INT FX
AUX 5/6
20
2
OO
SIG/OL
OO
LEFT RIGHT
U
AUX
1
RUDE SOLO
OO
U
INT FX
AUX 5/6
MAIN
MIX
7
SOLO
+15
U
OO
OO
U
+15
PRE
PRE
GRP 3-4
AUX 5-6
PWR
30
5
OO
48V
10
U
PRE
CH 3-4
STEREO RETURNS
U
2
OO
GRP 1-2
MAIN L/R
AUX
U
PRE
USB OUT
CH 1-2
TAPE
USB
SOLO
+20
TO MAIN
OO
USB
COMP
SUCK
FX 2
PAD
-20dB
OFF
XX04
100%
2-TRACK RETURN
U
FX 1
0%
75%
5
SOLO
10
3
4
MAIN
MAIN MIX
dB
dB
dB
dB
dB
10
10
10
10
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
10
10
10
10
10
20
20
20
20
20
1-2
1-2
20
2
20
3-4
30
3-4
30
3-4
30
3-4
30
3-4
30
3-4
30
3-4
30
30
30
30
30
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
L/R
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
Owner's Manual 35
Appendix D: USB and you... sb
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.
The USB routing capabilities are as follows:
USB input TO the mixer - playback:
(1) Stereo channel 23/24 (on the 2404-VLZ3) and
31/32 (on the 3204-VLZ3) features a USB button, so one
may route computer output (such as iTunes®) down the
last stereo channel of the board. This stereo signal may
then be EQ'd, sent to auxiliaries (i.e. to feed monitors,
headphones or effects) and is routable to mains and/or
subgroups via the fader routing features that are available on all other channels. In short, this signal may
be sent to nearly any desired output or pair of outputs.
Additionally, the gain knob at the top of this channel
strip adjusts the USB input level to the mixer to achieve
an optimal signal level.
(2) The 2-Track Return section features a "flip"
switch, so a "Tape" source (connected via RCA cables,
such as an iPod®) or the USB signal from a computer
(playing Windows Media Player® files, for example) may
be routed to the main bus. This section also features a
solo button and input level adjustment for fading house music up and down between bands, at a house of worship, or any other event where this may be necessary.
USB output FROM the mixer - recording, etc:
(1) A variety of different signals may be recorded
via the USB output section, depending on the setup. In
the 'USB OUT' section, the switch on the left [51] will
select either Groups 1-2 or the main mix to feed USB
output channels 1-2. The second switch (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 via routing to subgroups 1-4. The USB tap
points for the subgroups are pre-fader (also pre-insert)
and post-compressor. The signals will show up on the
DAW dependent upon how they are panned on the channels.
In other words, if subgroups 1 and 2 are used to submix drums and those drums have a stereo image
(e.g. overheads and toms pan according to desire), this
stereo image is retained in the DAW inputs (assuming
subgroup 1 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
are adjusted on the channels. However, compression settings made on the mixer will apply to the recording.
Likewise, it is possible to record the main mix to take
home a copy of the live show. These levels are also pre-main fader. Therefore, levels may be mixed up or
down in the DAW later depending on the needs of the
recording versus the live show. The end result is that
fade-ins and/or fade-outs made during the show do not
affect recorded levels.
And finally, it is possible to route the aux 5-6 (again,
pre-fader) mixer signals into a DAW or plug-in host.
From there, re-route the output of the DAW (or plug-in
host) back into the mixer. Voilà...a powerful outboard
effects unit!
Success here is partially dependent upon the
computer's speed. It needs to be fast enough
to run at low buffer sizes so that there is no
noticeable latency between the input signal and, say,
the reverb return. This kind of flexible routing allows
for a variety of choices: running aux 5-6 as effects sends
to outboard gear, internal effects sends (native to the
board), DAW plug-ins (via USB) or as monitor mix
feeds...a truly powerful feature! Be sure to review the
software requirements on www.mackie.com to confirm
that the latest device drivers are currently in use.
36 VLZ3 4•Bus
Appendix E: Table of Effects Presets
No. Title
Description
Example of its use
01 Plate Reverb
This preset emulates vintage mechanical reverberation
that was generated with a metal plate. Its sound is characterized by lots of early reflections and no pre-delay.
Perfect for thickening percussive instruments, such
as a snare drum, or tight vocal arrangements.
02 Vocal Plate
This vintage plate emulation is warmer than your
standard plate, with a long reverberant tail, lots of fast
reflections and a very short pre-delay.
Particularly suited for vocal signals, but can also
be used for extra-thick drum tracks.
03 Warm Room
This preset is characterized by lots of fast early reflections Useful for adding a tight and controlled
with a short pre-delay to simulate the sound of a small,
ambient effect to vocals and acoustic instruments.
wood paneled room.
04 Bright Room
This room has a bright tone with lots of scattered reflections to simulate harder, more reflective surfaces.
05
Warm Lounge
Useful on vocals that require a brighter reverb to
cut through the mix, or for giving acoustic instruments a livelier vibe.
This preset features a medium sized room sound, with
Useful for vocals on songs that require a larger,
just enough enhancement of the lower mids to produce a more “wet” sound, or for giving dimension to
warm tone.
bright horns without adding harshness.
06 Small Stage
This preset simulates the sound of a small concert stage,
with a medium reverb time and reverberant space.
Useful for vocals or guitars in fast paced, highenergy songs that call for a “live” sounding
reverberation.
07 Warm Theater
This reverb has a warm bodied tone and medium long
reverb time to simulate the live acoustics of a theater
space.
Perfect for vocals, drums, acoustic and electric
guitars, keyboards, and more.
08 Bright Stage
This preset emulates the sound of a large performance
stage, characterized by medium long reverb time and
pre-delay, plus a touch of sizzle.
Great for adding life and dimension to drums and
other acoustic instruments, and for that big live
vocal sound.
09 Warm Hall
This reverb simulates the sound of a spacious, yet cozy,
heavily draped and carpeted concert hall with an especially warm tone.
Perfect for adding natural concert hall ambience
to close-mic’ed orchestral instruments.
10 Concert Hall
This hall reverb is characterized by its large, spacious
sound, long pre-delay, and vibrant tone.
Adds life to acoustic instruments and vocals from
solos to full-on symphonies and choirs.
11 Cathedral
This reverb emulates the extremely long tails, dense dif- Gives amazing depth to choirs, wind instruments,
fusion and long pre-delays and reflections that would be organs, and soft acoustic guitars.
found in a very large, stone walled house of worship.
12 Gated Reverb
This preset incorporates an age-old trick whereby an
extremely dense reverb is processed through a fast gate
for an interesting, albeit artificial, sound.
13 Chorus
This preset provides a soft, ethereal sweeping effect that Perfect for enhancement of electric and acoustic
is useful for thickening and for making a particular sound guitar and bass, or to add a dramatic effect to
pop out of the mix.
vocals, particularly group harmonies and choirs.
14 Chorus + Reverb
This preset perfectly combines the chorus effect above
with a large, roomy reverb.
This lets you both thicken your sound with the
chorus effect while adding warmth and spaciousness thanks to the smooth reverb.
15 Doubler
This effect simulates the sound of a vocal or instrument
being recorded twice (double tracked) on a multi-track
recorder.
Provides a vibe that is similar to chorus without
the subtle swirl.
16 Tape Slap
This effect provides a single, relatively rapid delay of the Often used on vocals for a 1950’s era feel, or on
original signal, with the added warmth that vintage tape- guitars for a surf-type tone. Often used by people
based echo units provided.
whose favorite number is 16.
17
18
19
20
21
22
DLY 1 Bright (350ms)
DLY 1 Warm (300ms)
DLY 2 Bright (250ms)
DLY 2 Warm (200ms)
DLY 3 Bright (175ms)
DLY 3 Warm (150ms)
Most often used to fatten snare drums and toms
without clutter.
These 6 delay presets provide one (delay 1), three (delay
2), or six (delay 3) repeats of the original signal. The
default delay time for each preset is shown in mS - the
smaller the time, the faster the delay. Delay times can
easily be customized to suit the moment by tapping the
knob [63] more than once.
These work best with full, up-beat music like rock
where the delay needs to cut through the mix.
Warm delays get progressively softer and warmer
in tone with each repetition and work great with
slow, mellow music. Bright delays have repeats
that are consistent in tone with the original sound.
23 Chorus + DLY (300ms)
This effect combines the thickening effect of the chorus
with the echoes of the 3-repeat delay effect.
Delay times can easily be customized to suit the moment
by using the Tap feature.
Useful on a clean electric guitar that needs a
mildly swirling, ethereal tone.
24 Reverb + DLY (200ms)
This effect combines the Warm Theater reverb effect with Perfect for thickening vocals while adding dimenthe echoes of the 3-repeat delay effect.
sions, it can also be used as a spacey effect on
Delay times can easily be customized to suit the moment electric guitars.
by using the Tap feature.
For presets 17 to 24, the delay can be entered by tapping the preset selector knobs [65] more than once.
Owner's Manual 37
VLZ3 4•Bus Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (toll-free in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or
LOUD holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will
need it to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Need help with your new mixer?
• Visit www.mackie.com and click Support to find: FAQs, manuals, addendums, and other useful information.
• Email us at: [email protected].
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps (Monday through Friday,
normal business hours, PST).
38 VLZ3 4•Bus
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]