1402VLZ4

O W N E R ’ S M A N U A L

14-Channel Compact Mixer

CAUTION: TO REDUCE THE RISK OF FIREREPLACE WITH CORRECT TYPE FUSE. REMOVEPOWER CORD BEFORE CHANGING VOLTAGE.

100VAC 120VAC 240VAC

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4 Important Safety Instructions1. Read these instructions. 2. Keep these instructions.3. Heed all warnings.4. Follow all instructions.5. Do not use this apparatus near water.6. Clean only with a dry cloth.7. Do not block any ventilation openings. Install in accordance with the

manufacturer’s instructions.8. Do not install near any heat sources such as radiators, heat registers,

stoves, or other apparatus (including amplifiers) that produce heat.9. Do not defeat the safety purpose of the polarized or grounding-type

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

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Only use attachments/accessories specified by the manufacturer.12. Use only with a cart, stand, tripod, bracket, or

table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

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

14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

15. 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.

16. Do not overload wall outlets and extension cords as this can result in a risk of fire or electric shock.

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.

PORTABLE CARTWARNING

CAUTION AVISRISK 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.

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:

• Reorientorrelocatethereceivingantenna.• Increasetheseparationbetweentheequipmentandthe

receiver.• Connecttheequipmentintoanoutletonacircuitdifferentfrom

that to which the receiver is connected.• Consultthedealeroranexperiencedradio/TVtechnicianfor

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

Sound Level dBA, Slow Response

Typical Example

8 90 Duo in small club6 924 95 Subway Train3 972 100 Veryloudclassicalmusic1.5 1021 105 Matt screaming at Troy about

deadlines0.5 1100.25 or less 115 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 (2012/19/EU) 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.

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Part No. SW0971 Rev. C 08/14©2014 LOUD Technologies Inc. All Rights Reserved.

ContentsOUTPUT SECTION .................................................. 16

32. MAIN MIX FADERS ................................... 1633. CONTROL ROOM SOURCE MATRIX ............ 1634. CONTROL ROOM/SUBMIX ....................... 1635. SOLO MODE (AFL/PFL) .......................... 1736. RUDE SOLO LIGHT .................................. 1737. ASSIGN TO MAIN MIX ............................ 1738. METERS – MANY DISPLAYS IN ONE! ....... 17 A WORD ABOUT AUX ............................. 1839. PRE OR POST (AUX 1) ........................... 1840. AUX 1 MASTER ...................................... 1841. STEREO RETURNS ................................... 1842. RETURN TO AUX 1 ................................. 19 JACK NORMALLING ................................ 19

APPENDIX A: SERVICE INFORMATION .................... 20APPENDIX B: CONNECTIONS.................................. 20APPENDIX C: TECHNICAL INFORMATION ................ 24 SPECIFICATIONS ............................................. 24 BLOCK DIAGRAM ............................................ 25 TRACK SHEET.................................................. 261402VLZ4 LIMITED WARRANTY ............................ 27

IMPORTANT SAFETY INSTRUCTIONS ........................ 2CONTENTS .............................................................. 3FEATURES ............................................................... 4INTRODUCTION ...................................................... 4HOW TO USE THIS MANUAL .................................... 4GETTING STARTED ................................................... 5HOOKUP DIAGRAMS............................................... 6PATCHBAY DESCRIPTION ......................................... 8

1. MIC INS (CHANNELS 1–6) ........................ 8 PHANTOM POWER ................................... 82. LINE INS (CHANNELS 1–6) ........................ 83. LOW CUT (CHANNELS 1–6) ....................... 94. GAIN (CHANNELS 1–6) ............................ 95. STEREO LINE INS ...................................... 96. +4/–10 LEVEL (STEREO CHANNELS ONLY) 9 EFFECTS: SERIAL OR PARALLEL? ................ 97. STEREO RETURNS ................................... 108. AUX SEND 1&2 ...................................... 109. TAPE IN ................................................. 1010. TAPE OUT .............................................. 1011. 1/4" MAIN OUTS ................................... 1012. PHONES ................................................ 1113. XLR MAIN OUTS ................................... 1114. XLR MAIN OUT LEVEL SWITCH ................ 1115. CONTROL ROOM OUTS ........................... 1116. ALT 3–4 OUTS ........................................ 1117. CHANNEL INSERT (CHANNELS 1–6 ) ........ 1118. POWER CONNECTION ............................. 1219. FUSE ...................................................... 1220. VOLTAGE SELECTOR ................................ 1221. POWER SWITCH ..................................... 1222. PHANTOM SWITCH ................................ 12

CHANNEL STRIP DESCRIPTION ............................... 13 “U” LIKE UNITY GAIN ............................ 1323. CHANNEL FADER ..................................... 1324. SOLO ..................................................... 1325. MUTE/ALT 3–4 ...................................... 1326. PAN ........................................................ 14 CONSTANT LOUDNESS ! ! ! ...................... 14 3-BAND EQ ............................................ 1427. LOW EQ ................................................. 1428. MID EQ .................................................. 1429. HI EQ ..................................................... 15 MODERATION DURING EQ ...................... 1531. AUX 1 AND 30. AUX 2 SEND ................... 15

Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, make dad proud, etc.) Purchased at: Date of purchase:

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4 Features • 14-channelmixerfeaturingoursignature

high-headroom,low-noisedesign

• Sixboutique-qualityOnyxmicpreamps •Ultra-wide60dBgainrange •128.5dBdynamicrange •+22dBulineinputhandling •Extendedfrequencyresponse •Distortionunder0.0007%(20Hz-50kHz)

• ImprovedRFrejection,perfectforbroadcastapplications

• Phantompowerforcondensermics

• 14high-headroomlineinputswith +4/–10operationcontrol

• 3-bandEQ(80Hz,2.5kHz,12kHz)

• 18dB/oct75Hzlow-cutfilteronmicinputchannels

• Twoauxsends,level,panandPFLsolo on each channel

• 60mmlong-wearinglog-taperfaders

• TwostereoreturnsforconnectingFXprocessor orotherstereosource

• ALT3/4stereobusforaddedroutingflexibility

• Controlroom/phonessourcematrix

• High-resolution12-segmentstereometers

• Sealedrotarycontrolresistdustandgrime

• “Built-Like-A-Tank”ruggedsteelchassiswithpowder-coatfinish

• High-visibility,high-contrastcontrolsdeliverconvenient“at-a-glance”visualfeedback

• Rack-mountabledesignusinganoptionalrackearkit

• Multi-voltagepowersupplyforworldwideuse

IntroductionThe14-channel1402VLZ4bringstheproven

performanceofourOnyxpreampsinaprofessional compactmixerdesigngreatforapplicationsthat demandflexibility.

Fromeveryinputtoeveryoutput,the1402VLZ4isdesignedtoprovidethehighestheadroomandlowestnoisepossibleformaximumsignalintegrity.Plus,itistruly“Built-Like-A-Tank”witharidiculouslyruggedsolid-steelchasisplushigh-contrastcontrolsfor ultimatetactilecontrol.

Andwithfeatureslikeadedicatedcontrolroom sectionandsmooth,accuratefadercontrol,the1402VLZ4isthepremiumchoiceforanybodywho demandstheprofessionalperformance.

How To Use This Manual

Aftertheintroduction,agettingstartedguidewillhelpyougetthingssetupfast.Thesearefollowedbyhookupdiagramswhichshowsometypicalsetups.

Nextisadetailedtouroftheentiremixer. Thedescriptionsaredividedintosections,just asyourmixerisorganizedintodistinctzones:

• Patchbay

• ChannelStrip

• OutputSection

Throughoutthesesectionsyou’llfindillustrationswitheachfeaturenumberedanddescribedinnearbyparagraphs.

Thisiconmarksinformationthatiscriticallyimportantoruniquetothemixer.Foryourowngood,readthemandrememberthem.

Thisiconwillleadyoutosomeexplanations offeaturesandpracticaltips.Theyusuallyhavesomevaluablenuggetsofinformation.

Need help with your mixer?• Visit www.720trees.com and click Support to find: FAQs, manuals and other useful information.

• Email us at: techmail@loudtechinc.com.

• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps (Monday through Friday, normal business hours, Pacific Time).

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Getting StartedWerealizethatyoumustbereallykeentotryout

themixer.Pleasereadthesafetyinstructionsonpage2,thenhavealookthroughsomeofthefeaturesanddetailsinthismanual.

Setup

Usethemixerinanicecleananddryenvironment,freefromdryerlintanddustbunnies.

Zero the controls

1. Fullyturndownalltheknobsandfaders tominimum,exceptforthechannelEQ andpancontrols,whichshouldbecentered.

2. Makesureallbuttonsareintheoutposition.

Connections

1. MakesuretheACpowerswitchisoffbeforemakinganyconnections.

WARNING:BeforepluggingtheACpowercordintothemixer,makesuretheVOLTAGESELECTORswitchissettothesamevoltageasthelocalACmainssupply(seepage12).

2. PushthelinecordsecurelyintotheIECconnectorontherearpanel,andplugitintoa3-prongACoutlet.ThemixermayacceptanyACvoltagerangingfrom100VACto240VAC.

3. PlugabalancedmicrophoneintooneofthemicXLR(3-pin)connectors.Orconnectany line-levelsignal(keyboard,orguitarpreamp)toalineinputjackusingaTSoraTRS 1/4"plug.

4. Ifyourmicrophonerequiresphantompower,turnonthe48Vphantompowerbutton.

5. Allmonochannelshaveinsertjacksthatcanbeusedtoconnectanexternaleffectsordynamicsprocessorintothesignalchain.

6. Connectthemainoutputsofthemixer(eitherXLRorTRS1/4")tothelinelevelinputsofyouramplifier(withspeakersalreadyattached)ortothelinelevelinputsofpoweredspeakers.

Set the levels

It’snotevennecessarytohearwhatyou’redoingtosetoptimallevels.Butifyou’dliketo:Plugheadphonesintothephonesoutputjack,thenturnupthephonesknobjustalittle.

1. Turnonthemixerbypressingthetopedgeofthepowerswitch.

2. Foronechannel,pressthesoloswitchin.

3. EngagetheAFL/PFLswitchinthemaster section.Agreenlevelsetlightwillturnon.

4. Playsomethingintothatinputatreal-worldlevels.

5. Adjustthatchannel'sgaincontroluntiltherightmainmeterstaysaroundthe0dBLED(marked“levelset”)andnevergoeshigherthan“+7.”

6. Disengagethechannel'ssoloswitch.

7. Repeatsteps2to6fortheremainingchannels.

8. Turnupthechannelfadertothe“U”mark.

9. Slowlyturnupthemainmixfaderuntilyouhearthesignalsintheheadphones.

10.Ifneeded,applysomechannelEQwisely.

11.Adjustthechannelfaderstogetthebestmix.Keepthegaincontrolsandlevelsfullydown onunusedchannels.

12.Duringtheperformance,ifyounoticeachannelOLLEDturningonduringpeaks,carefullyturndownthatchannel'sgaincontroluntilOLdoesnotturnon.

Things to Remember

• Neverlistentoloudmusicforprolonged periods.PleaseseetheSafetyInstructionsonpage2forinformationonhearingprotection.

• Alwaysturndownthephoneslevelwhenmakingconnections,pressingsolo,ordoinganythingthatmaycauseloudnessinthe headphones.Thiswillhelpprotectyourhearing.

• Alwaysturndownthemainmixandcontrolroom/submixfaderswhenmakingconnectionstothemixer.Betteryet,turnoffthepower.

• Whenshuttingdown,turnoffanypoweramplifiersorpoweredspeakersfirst.Whenpoweringup,turnthemonlast.Thiswill reducethechanceofturn-onorturn-offthumps.

• Savetheshippingbox!

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Hookup DiagramsCondenser

microphones

DirectBoxes

MR8mk3studio monitors

Headphones

Headphone amp

Electronic Drum Kit

Stereo Guitar Effects

Synth

Stereo Compressor

Mono Compressor

Multi Effects Processor

Digital Delay

Laptop

CAUTION: TO REDUCE THE RISK OF FIREREPLACE WITH CORRECT TYPE FUSE. REMOVEPOWER CORD BEFORE CHANGING VOLTAGE.

100VAC 120VAC 240VAC

Recording System

This diagram shows microphones connected to the mic inputs of channels 1 and 2, and a vocal compressor connected to the channel 1 insert jack. Bass and electric guitars are attached to channels 3 and 4 via DI boxes with a stereo compressor on the insert. The lead guitar plays through a stereo effects processor plugged into channels 7 and 8. An electronic drum kit is connected to channels 9 and 10, while a synth is connected to the line inputs of channels 13 and 14.

The audio outputs from a laptop computer are connected to the RCA tape inputs. This allows you to playback your recordings made using the DAW of your choice. The Alt 3-4 outputs are used to feed the inputs to your computer's sound card. By pressing a mute/alt 3-4 switch, it is easy to set up a channel to record onto your computer.

A headphone amplifier is connected to the headphones output, and feeds four pairs of headphones while a pair of MR8mk3 powered studio monitors are connected to the control room outputs.

You can use this setup to record overdub style:

1. For the track being recorded, route it to the alt 3-4 output, which feeds the computer input.

2. Monitor just the previously-recorded tracks through the tape input, which will feed the control room/phones.

3. Since only the currently-recorded track is feeding the computer (through alt 3-4), you will hear the previous tracks you are overdubbing to, but they will not be recorded to each new track.

4. The control room/phones is fed by a mixture of alt 3-4 (currently recorded track) and tape in (output of your DAW playing back previously-recorded tracks).

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Condensermicrophones

DirectBoxes

Electronic Drum Kit

Stereo Guitar Effects

Synth

Stereo Compressor

Mono Compressor

Multi Effects Processor

Headphones

Mono Power AmplifierMono EQ

DLM8 Stage Monitors

iPodTMDocking Station

DLM12S subwoofers StereoEQ

DLM8 loudspeakers

CAUTION: TO REDUCE THE RISK OF FIREREPLACE WITH CORRECT TYPE FUSE. REMOVEPOWER CORD BEFORE CHANGING VOLTAGE.

100VAC 120VAC 240VAC

Live Stereo PA System

This diagram shows microphones connected to the mic inputs of channels 1 and 2, and a vocal compressor connected to the channel 1 insert jack. Bass and electric guitars are attached to channels 3 and 4 via DI boxes with a stereo compressor on the insert. The lead guitar plays through a stereo effects processor plugged into channels 7 and 8. An electronic drum kit is connected to channels 9 and 10, while a synth is connected to the line inputs of channels 13 and 14. An iPodTM docking station is connected to the tape RCA inputs, so you can play pre-recorded music during the breaks.

A multi-effects processor is connected to aux send 1, with the aux send set to post-level. Effects are added to the main mix via the stereo return inputs, and adjusted with the stereo return level control.

To use the aux send for stage monitors instead of an effects processor, set the aux to pre-level so the monitor volume level can be adjusted independently from the main loudspeakers. This setup may easily be configured to become a mono PA setup: (A) Stereo sources should feed the left mono side of the channel input only, (B) pan each channel hard left, (C) connect the mono PA system to the left main out.

The main mix output connects to a stereo graphic EQ before connecting to a pair of DLM12S powered subwoofers which are connected to a pair of DLM8 powered loudspeakers to please your audience.

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4 Patchbay Description

Attheriskofstatingtheobvious,thisiswhereyouplugeverythingin:microphones,line-levelinstrumentsandeffects,headphones,andtheultimatedestinationforyoursound:PAsystem,DAW,etc.

SeeAppendixBforfurtherdetailsanddrawingsoftheconnectorsyoucanusewiththe1402VLZ4.Alsoseethechannelstripdescriptiononpage13fordetailsofthesignalroutingfromtheXLRandlineinputs.

1. Mic Ins (Channels 1–6)ThisisafemaleXLRconnectorthatacceptsa

balancedmicorlinelevelinputfromalmostanytype ofsource.TheseOnyxmicpreampsfeaturehigher fidelityandheadroomrivalinganystandalonemic preamponthemarkettoday.Thesecircuitsareexcellentatrejectinghumandnoise.

TheXLRinputsarewiredasfollows: Pin1=Shieldorground Pin2=Positive(+orhot) Pin3=Negative(–orcold)

Professionalribbon,dynamic,andcondensermicsallsoundexcellentthroughtheseinputs.Themic/lineinputswillhandleanykindoflevelyoucantossatthem,withoutoverloading.

Microphone-levelsignalsarepassedthroughthemixer'ssplendidmicrophonepreamplifierstobecomeline-levelsignals.

Noteveryinstrumentismadetoconnectdirectly toamixer.GuitarscommonlyneedaDirectInjection(DI)boxtoconnecttothemixer'smicinputs.Theseboxesconvertunbalancedline-levelsignalsfromyourguitar,intobalancedmic-leveloutputs,andprovidesignalandimpedancematching.Theyalsoletyousendyourgiftedguitarrenditionsoverlongcablesoraudiosnakes,withminimuminterferenceandhigh-frequencysignalloss.AskyourdealerorguitarmakerabouttheirrecommendationsforagoodDIbox.

Phantom PowerMostmodernprofessionalcondensermicsare

equippedforphantompower,whichletsthemixersendlow-currentDCvoltagetothemic’selectronicsthroughthesamewiresthatcarryaudio.(Semi-procondensermicsoftenhavebatteriestoaccomplishthesamething.)“Phantom”owesitsnametoanabilitytobe“unseen”bydynamicmics(ShureSM57/SM58,forinstance),whichdon’tneedexternalpowerandaren’taffectedbyitanyway.

The1402VLZ4’sphantompowerisgloballycontrolledbythephantomswitchontherearpanel.(Thismeansthephantompowerforchannels1-6isturnedonandofftogether.)

Neverplugsingle-ended(unbalanced)microphonesorinstrumentsintothemicinputjacksifthephantompowerison.

Donotpluginstrumentoutputsintothemicinputjackswithphantompoweron,unlessyouknowforcertainitissafetodoso.

2. Line Ins (Channels 1–6)Thesesixline-inputssharecircuitry(butnot

phantompower)withthemicpreamps,andcanbedrivenbybalancedorunbalancedsourcesatalmost anylevel.

Toconnectbalancedlinestotheseinputs,usea1⁄4"Tip-Ring-Sleeve(TRS)plug,wiredasfollows: Tip=Positive(+orhot) Ring=Negative(–orcold) Sleeve=Shieldorground

Toconnectunbalancedlinestotheseinputs,usea1⁄4"mono(TS)phoneplug,wiredasfollows: Tip=Positive(+orhot) Sleeve=Shieldorground

Thelineininputs1–6areagoodplacetoconnectolderinstrumentsthatneedmoregain.Youcancorrectweaklevelsbyadjustingthecorrespondingchannel’sgain control.

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5. Stereo Line Ins (Channels 7–8, 9–10, 11–12 and 13-14)

Thesefullybalancedinputsaredesignedforstereo ormono,balancedorunbalancedsignals,from–10dBVto+4dBu.Theycanbeusedwithjustaboutany professionalorsemi-proinstrument,effectorCDplayer.

Inthestereoaudioworld,anodd-numbered channelusuallyreceivesthe“leftsignal.”Forexample,youwouldfeedthe1402VLZ4’slineinputs7-8astereosignalbyinsertingthedevice’sleftoutputpluginto thechannel7jack,anditsrightoutputplugintothechannel8jack.

Whenconnectingamonodevice(justonecord),alwaysusetheleft(mono)input(jacks7,9,11or13)andplugnothingintotherightinput(jacks8,10,12or14)—thiswaythesignalwillappearonbothsides.Thistrickiscalled“jacknormalling.”

6. +4/–10 Level (Stereo Channels Only)Thisswitchadjuststheinputsensitivityoftheline

inputsonchannels7to14.Ifthesoundsourceisa"–10"device,engagethisswitch.Ifyouareunsure,leavetheswitchup,andperformthelevelsettingprocedure,substitutingthisswitchforthegainknobtofindthebestpositionforit.

Effects: Serial Or Parallel?Thenexttwosectionstosstheterms“serial”and

“parallel”aroundlikehackysacks.Here’swhatwemeanbythem:

“Serial”meansthattheentiresignalisroutedthroughtheeffectsdevice.Examples:compressor/limiters,graphicequalizers.Line-levelsourcescanbepatchedthroughaserialeffectsdevicebeforeorafterthemixer,orpreferablythroughtheinsertjackslocatedontherearpanel(channelinsert[17]send/return).

“Parallel”meansthataportionofthesignalinthemixeristappedofftothedevice(auxsend),processedandreturnedtothemixer(stereoreturn)tobemixedwiththeoriginal“dry”signal.Thisway,multiple channelscanallmakeuseofthesameeffectsdevice.Examples:reverb,digitaldelay.

Dry Signal ProcessedSignal

InsertSend

InsertReturn

Dry Signal(s) Dry Signal(s)

AuxSend

AuxReturn

Wet Signal

Channel PathMix

Stage

OutputSection

ProcessedSignal

Signal Processor(e.g., Compressor)

Signal Processor(e.g., Reverb)

Dry Signal ProcessedSignal

InsertSend

InsertReturn

Dry Signal(s) Dry Signal(s)

AuxSend

AuxReturn

Wet Signal

Channel PathMix

Stage

OutputSection

ProcessedSignal

Signal Processor(e.g., Compressor)

Signal Processor(e.g., Reverb)

Dry Signal ProcessedSignal

InsertSend

InsertReturn

Dry Signal(s) Dry Signal(s)

AuxSend

AuxReturn

Wet Signal

Channel PathMix

Stage

OutputSection

ProcessedSignal

Signal Processor(e.g., Compressor)

Signal Processor(e.g., Reverb)

3. Low Cut (Channels 1–6)Eachlowcutswitch,oftenreferredtoasahighpass

filter(alldependsonhowyoulookatit),cutsbass frequenciesbelow75Hzatarateof18dBperoctave.

Werecommendthatyouuselow-cutonevery microphoneapplicationexceptkickdrum,bassguitar,orbassysynthpatches.Theseaside,thereisn’tmuchdowntherethatyouwanttohear,andfilteringitoutmakesthelowstuffyoudowantmuchmorecrispandtasty.Notonlythat,butlow-cutcanhelpreducethe possibilityoffeedbackinlivesituations,andithelps toconserveamplifierpower.

Anotherwaytoconsiderlow-cut’sfunction isthatitactuallyaddsflexibilityduringliveperformances.Withtheadditionoflow-cut,

youcansafelyuselowequalizationonvocals. Manytimes,bassshelvingEQcanreallybenefit voices.Troubleis,addinglowEQalsoboostsstagerumble,michandlingclunksandbreathpops. Applyinglow-cutremovesallthoseproblems,so youcanaddlowEQwithoutblowingyoursubwoofers.

Here’swhatthecombinationoflowEQandlow-cutlookslikeintermsoffrequencycurves:

4. Gain (Channels 1–6) Ifyouhaven’talready,pleasereadthelevel-setting

procedureonpage5.

Gainadjuststheinputsensitivityofthemicandlineinputsconnectedtochannels1through6.Thisallowssignalsfromtheoutsideworldtobeadjustedtooptimalinternaloperatinglevels.

IfthesignaloriginatesthroughtheXLRjack,therewillbe0dBofgainwiththeknobfullydown,rampingto60dBofgainfullyup.

Throughthe1⁄4"input,thereis20dBofattenuationfullydownand40dBofgainfullyup,witha“U”(unitygain)markat10:00.This20dBofattenuationcanbeveryhandywhenyouareinsertingaveryhotsignal,orwhenyouwanttoaddalotofEQgain,orboth.Withoutthis“virtualpad,”thisscenariomightleadtochannelclipping.

Low Cut with Low EQ20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

0

+5

+10

+15

20Hz 100Hz 1kHz 10kHz 20kHz–15

–10

–5

0

+5

+10

+15

Low Cut

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7. Stereo ReturnsThisiswheretoconnecttheoutputsofparallel

effectsdevices(orextraaudiosources).These balancedinputsaresimilartothestereolinein[2] inputs(withoutEQ,auxsends,pan,mute,andsolo).Thecircuitswillhandlestereoormono,balancedorunbalancedsignals,eitherinstrumentlevel,–10dBV or+4dBu.Theycanbeusedwithjustaboutanypro orsemiproeffectsdeviceonthemarket.Thesignalscomingintotheseinputscanbeadjustedusingthestereoreturn[41]knobsbeforepassingontothe mainmixbus,seepage18.

Onedevice:ifyouhavejustoneparalleleffectsdevice(twocords),usestereoreturn1andleavestereoreturn2unplugged.thatway,theunusedstereoreturn2levelcontrolcanbeusedtofeedstereoreturn1toyourstagemonitors,viathereturntoaux1[41]switch.

Monodevice:ifyouhaveaneffectsdevicewithamonooutput(onecord),plugthatintostereoreturn1,l/mono,andleavestereoreturn1,right,unplugged. Thiswaythesignalwillbesenttobothsides,magicallyappearinginthecenterasamonosignal.Thiswon’tworkwithstereoreturn2—you’llneedaY-cord.

8. Aux Send 1&2Theauxsend[31]knobstapaportionofeach

channel'ssignaltoprovideanoutputheretofeed externalparalleleffectsprocessorsorstagemonitoring.Seetheauxsenddetailsonpage15.

These1⁄4"jacksarebalancedoutputscapable ofdelivering22dBuintoa600ohmbalancedor unbalancedload.

9. Tape InTheseRCAjacksaredesignedtoworkwithsemipro

aswellasprorecorders.Tocompensatefortypicallylowlevels,signalscominginherewillbeautomaticallyboostedby6dB.

Connectyourtaperecorder’soutputshere,usingstandardhi-fi(RCA)cables.

Usethesejacksforconvenienttapeplaybackofyourmixes.You’llbeabletoreviewamixandthenrewindandtryanotherpasswithoutrepatchingordisturbingthemixerlevels.Youcanalsousethesejackswith aportableCDplayertofeedmusictoaPAsystembetweensets.

WARNING:Engagingboththetapeandassigntomainmixbuttonsinthecontrolroomsource[33]matrixcancreateafeedback

pathbetweentapeinputandtapeoutput.Makesureyourtapedeckisnotinrecord,record-pause,orinputmonitormode,whenyouengagetheseswitches,ormakesurethecontrolroom/submix[34]levelknob isfullycounterclockwise(off).

10. Tape OutTheseunbalancedRCAconnectionstapthemain

mixoutputtomakesimultaneousrecordingandPAworkmoreconvenient.Connectthesetoyourrecorder’sinputs.(Seealsomainmix[32]onpage16.)

Monoout:Ifyouwanttofeedamonosignaltoyourtapedeckorotherdevice,simplyuseanRCAY-cordtocombinetheseoutputs.Donotattemptthiswithanyotheroutputsonthe1402VLZ4.

11. 1/4" Main OutsThe1/4"TRSoutputconnectorsprovidebalancedor

unbalancedline-levelsignals.Connectthesetothenextdeviceinthesignalchainlikeanexternalprocessor(compressor/limiter),ordirectlytotheinputsofthemainamplifier.ThesearethesamesignalthatappearsattheXLRmainoutputs[13],but6dBlowerwhentheXLRisusedbalanced.

Toconnectbalancedlinestotheseinputs,usea1⁄4"Tip-Ring-Sleeve(TRS)plug,wiredasfollows: Tip=Positive(+orhot) Ring=Negative(–orcold) Sleeve=Shieldorground

Toconnectunbalancedlinestotheseinputs,usea1⁄4"mono(TS)phoneplug,wiredasfollows: Tip=Positive(+orhot) Sleeve=Shieldorground

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Thesebalancedoutputsarecapableofdelivering22dBuintoa600ohmbalancedorunbalancedload.

16. Alt 3–4 OutsThese1⁄4"outputsarethesumofanychannelsthat

havethemute/alt3-4[25]switchpressedin(seepage13forthetenderdetails).

Thesebalancedoutputsarecapableofdelivering 22dBuintoabalancedorunbalancedload.

17. Channel Insert (Channels 1–6)Theserear-paneljacksarewhereyouconnectserial

effectssuchascompressors,equalizers,de-essers, orfilters.Sincemostpeopledon’thavemorethana fewofthesegadgets,we’veincludedinsertsforjust thefirstsixchannels.Ifyouwanttousethiskindofpro-cessingonchannels7through14,simplypatchthroughtheprocessorbeforeyouplugintothe1402VLZ4.

Thechannelinsertpointsareafterthegain[4] andlowcut[3]controls,butbeforethechannel’s EQ[27]andfader[23].Thesend(tip)islow-imped-ance(120ohms),capableofdrivinganyline-leveldevice.Thereturn(ring)ishigh-impedance(over2.5kohms)andcanbedrivenbyalmostanydevice.

SeeAppendixBfordetailsanddrawingsaboutinsertcables,andadiagramshowingthreewaystousethejacks.

Besidesbeingusedforinsertingexternaldevices,thesejackscanalsobeusedaschanneldirectoutputs;post-gain,post-lowcut,andpreEQ.Infact,ourOnyxmicpreampshavebecomesofamous,thatpeoplebuythesemixersjusttohavesixoftheseintheirarsenal.

tip

This plug connects to one of the mixer’s Channel Insert jacks. ring

tipring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

12. Headphones OutThisstereojackwilldriveanystandardheadphone

toveryloudlevels.Tolearnhowsignalsarerouted totheseoutputs,seesourcematrix[33]onpage16. Ifyou’rewiringyourowncableforthephonesoutput,followstandardconventions:

Tip=Leftchannel Ring = Right channel Sleeve=Commonground

WARNING:Whenwesaytheheadphone ampisloud,we’renotkidding.Itcancausepermanenteardamage.Evenintermediate

levelsmaybepainfullyloudwithsomeearphones. BE CAREFUL! Alwaysturnthectlroom/submixfaderallthewaydownbeforeconnectingheadphones.Keepitdownuntilyou’veputthephoneson.Thenturnitupslowly.Why?“Engineerswhofrytheirearsfindthem-selveswithshortcareers.”

13. XLR Main Outs Usethesetosendthemainmixoutintotheline-level

balancedinputsofyouramplifierorpoweredspeakers.

Theselow-impedanceoutputsarefullybalancedandcapableofdriving+4dBulineswithupto28dBofheadroom.Thisoutputis6dBhotterthanotheroutputs.

14. XLR Main Out Level SwitchEngagingthisswitchreducesthelevelofthe

balancedXLRmainoutputsby40dB,soyoucan feedthemicrophoneinputof,say,anothermixer. (YoucansafelyconnecttheXLRoutputsintoan inputthatprovides48Vphantompower.)

15. Control Room OutsThese1⁄4"outputsareprovidedsoyoucanlisten

tosomethingotherthanthemainmix.Thesource isselectedusingthesourcematrix[33]switches (seepage16).Youcanchoosetolistentothemainmix,thealt3-4stereobus(seemute/alt3-4onpage13), soloedchannels,orthetapeinput.Thevolumeis adjustablewiththecontrolroom/submix[34]knob.

CAUTION: TO REDUCE THE RISK OF FIREREPLACE WITH CORRECT TYPE FUSE. REMOVEPOWER CORD BEFORE CHANGING VOLTAGE.

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18. Power ConnectionJustincaseyoulosethecordprovidedwiththe

1402VLZ4,itspowerjackacceptsastandard3-prongIECcordlikethosefoundonmostprofessional recorders,musicalinstruments,andcomputers.

WARNING:BeforepluggingtheACpowercordintothe1402VLZ4,makesurethat thevoltageselector[20]slideswitchis

settothesamevoltageasthelocalACmainssupply.

WARNING:Disconnectingtheplug’sgroundpincanbedangerous.Don’tdoit.

19. Fuse

The1402VLZ4isfusedforyour(anditsown) protection.Ifyoususpectablownfuse,disconnect theACmainspowercord,pullthefusedrawerout(locatedjustbelowthecordreceptacle)andreplacethefusewitha500mA(0.5amps)SLOBLO5x20mm,availableatelectronicsstoresoryourdealer.Usea 250mAfuseifthelocalvoltageis220-240VAC.

Iftwofusesblowinarow,somethingisverywrong.Pleasecallourtoll-freenumber1-800-898-3211fromwithintheU.S.(orthedistributorinyourcountry)andfindoutwhattodo.

20. Voltage SelectorWARNING:BeforepluggingtheACpowercordintothe1402VLZ4,makesurethatthevoltageselector[20]slideswitchissettothe

samevoltageasthelocalACmainssupply.Onlyslidethevoltageswitchwiththepowercordunplugged.

Useaflatheadedscrewdrivertoslidetheswitch ifneeded.Theswitchallowsyoutousethemixer indifferentcountriesandvoltages,meetinteresting peoplefromothercultures,andentertainthemwithyouruniqueblendofRockabillyFunkadeliaThrashMetal.

21. Power SwitchPressthetopofthisrockerswitchinwardstoturnon

themixer.ThepowerLEDonthetopsurfaceofthemix-erwillglowwithhappiness,oratleastitwillifyouhavethemixerpluggedintoasuitableliveACmainssupply.

Pressthebottomofthisswitchtoputthemixerintostandbymode.Itwillnotfunction,butthecircuitsare stilllive.ToremoveACpower,eitherturnofftheACmainssupply,orunplugthepowercordfromthemixerandtheACmainssupply.

Asageneralguide,youshouldturnthemixeronfirst,beforethepoweramplifierorpoweredspeakers,andturnitofflast.Thiswillreducethepossibilitiesofanyturn-on,orturn-offthumpsinyourspeakers.

22. Phantom SwitchThisglobalrockerswitchcontrolsthephantompower

supplyforcondensermicrophonespluggedintochannelmic[1]inputs(seepage8).

Pressthetopoftheswitchinwardstoengage phantompowertothefourmicinputs.Pressthe bottomoftheswitchtoturnitoff.

Whenturnedon(oroff),thephantompower circuitrytakesafewmomentsforvoltagetoramp up(ordown).Thisisperfectlynormal.

CAUTION: TO REDUCE THE RISK OF FIREREPLACE WITH CORRECT TYPE FUSE. REMOVEPOWER CORD BEFORE CHANGING VOLTAGE.

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Channel Strip DescriptionThe1402VLZ4has“dual-modesolo.”Thesolomode

[35]switchinthemastersectiondetermineswhichmodeyou'llbehearing.Withtheswitchup,you'llget“AFL”(after-fader-listen),whichispost-fader,post-pan,makingitidealformixdownsoloing.Withtheswitchdown,you'rein“PFL”(pre-fader-listen),usedinthelevelsettingprocedure.

Soloedchannelsaresenttothesourcemix,whichultimatelyfeedsyourcontrolroom,phonesandmeterdisplay.Wheneversoloisengaged,allsourceselections(mainmix,alt3-4andtape)aredefeated,toallowthesoloedsignaltodojustthat—solo!

25. Mute/Alt 3–4Thedual-purposemute/alt3–4busisoursignature.

WhenGregwasdesigningourfirstproduct,hehadtoincludeamuteswitchforeachchannel.Muteswitchesdojustwhattheysoundliketheydo.Theyturnoffthesignalby“routing”itintooblivion.“Gee,whatawaste,”Gregreasoned.“Whynothavethemutebuttonroutethesignalsomewhereelseuseful…likeaseparatestereobus?”Somute/alt3–4reallyservestwofunctions—muting(oftenusedduringamixdownorliveshow),andsignalrouting(formultitrackandlivework)whereitactsasanextrastereobus.

Tousethisasamuteswitch,allyouhavetodois notusethealt3–4[16]outputs.Then,wheneveryoupressthisswitch,youwillassignachanneltothese unusedoutputs,disconnectingitfromthemainmix,andeffectivelymutingthechannel.

Tousethisasanalt3–4switch,allyouhavetodoisconnectthealt3–4outputstowhateverdestinationyoudesire.Herearetwopopularexamples:

Whendoingmultitrackrecording,usethealt3–4outputstofeedyourmultitrack.Withmostdecks,youcanmultthealt3–4outputs,usingY-cordsormults,tofeedmultipletracks.So,takealtoutputLandsendittotracks1,3,5and7,andaltoutputRandsendittotracks2,4,6and8.Now,tracksthatareinrecordorinputmodeswillhearthealt3–4signals,andtracksinplaybackorsafemodeswillignorethem.

Whendoinglivesoundormixdown,it’softenhandytocontrolthelevelofseveralchannelswithoneknob.That’scalledsubgrouping.Simplyassignthesechannelstothealt3–4mix,engagealt3–4inthesource[33]matrix,andthesignalswillappearatthecontrolroomandheadphones.Ifyouwantthealt3–4signalstogobackintothemainmix,engagetheassigntomainmix[37]switch,andthecontrolroom/submix[34]levelcontrolbecomestheoneknobtocontrolthelevelsofallthechannelsassignedtoalt3–4.

Thetenchannelstripslookalike,andfunction identically.Theonlydifferenceisthatthesixontheleftareforindividualmicsormonoinstrumentsandhavemoregainavailable,whilethenextfourareforeitherstereoormonoline-levelsources.(Eachofthestereochannelstripsisactuallytwocompletecircuits.Thecontrolsarelinkedtogethertopreservestereo.)We’llstartatthebottomandworkourwayup…

“U” Like Unity GainVLZ4mixershavea“U”symbolonalmosteverylevel

control.This“U”standsfor“unitygain,”meaningnochangeinsignallevel.Onceyouhaveadjustedtheinputsignaltoline-level,youcanseteverycontrolat“U”andyoursignalswilltravelthroughthemixeratoptimal levels.What’smore,allthelabelsonourlevelcontrolsaremeasuredindecibels(dB),soyou’llknowwhatyou’redoinglevel-wiseifyouchoosetochangea control’ssettings.

Youwon’thavetocheckit hereandcheckitthere,asyouwouldwithsomeothermixers.Infact,somedon’tevenhaveanyreferencetoactualdBlevelsatall!Youweresmart—you'reusinga1402VLZ4.

23. Channel FaderThisadjuststhechannel’slevel…

fromoff,tounitygain,onupto10dBofadditionalgain.

Channels1through6usemonofaders,andchannels7through14usestereofaders,andsotheymayfeelslightlydifferent.Notaproblem.

24. SoloThislovableswitchallows

youtohearsignalsthrough yourheadphonesorcontrol roomwithouthavingtoroutethemtothemainmixoralt3-4mix.Youdon’tevenhavetohavethechannel’sfaderturnedup.Folksusesoloinliveworktopreviewchannelsbeforetheyareletintothemix,ortojustcheckoutwhataparticularchannelisuptoanytimeduringasession.Youcansoloasmanychannelsatatimeasyoulike.

Soloisalsothekeyplayerinthelevel-settingprocedureonpage5.

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4 Anotherwaytodothesamethingisassignthe channelstothealt3–4mix,thenpatchoutofthe alt3–4outputbackintoanunusedstereochannellineinput.Ifthat’syourchoice,don’teverengagethemute/alt3–4switchonthatstereochannel,oryou’llhaveeverydogintheneighborhoodhowlingatyourfeedbackloop.

AnotherbenefitoftheALT3–4featureisthatit canactasa“AFL”(After-Fader-Listen):justengage achannel'smute/alt3–4switchandthealt3–4switchinthesourcematrixandyou’llgetthatchannel,all byitself,inthecontrolroomandphones.

Mute/alt3–4isoneofthosecontrolsthatcan bewildernewcomers,sotakeyourtimeandplay aroundwithit.Onceyou’vegotitdown,you’ll probablythinkofahundredusesforit!

26. PanPanadjuststheamountof

channelsignalsenttotheleftversustherightoutputs.Onmonochannels(ch.1–6or7–14withconnectionstotheLinputonly)thesecontrolsactaspanpots.Onstereochannels(7–14)withstereoconnectionstoLandRinputs,thepanknobworkslikethebalancecontrolonyourhomestereo.

Pandeterminesthefateof themainmixandalt3–4mix.Withthepanknobhardleft, thesignalwillfeedeithermainoutL(bus1)oraltoutputL (bus3),dependingonthe positionofthealt3–4switch.Withtheknobhardright,thesignalfeedsmainoutR(bus2)oraltoutputR(bus4).

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Constant Loudness ! ! !The1402VLZ4’spancontrolsemployadesigncalled

“ConstantLoudness.”Ithasnothingtodowithlivingnexttoafreeway.Asyouturnthepanknobfromlefttoright(therebycausingthesoundtomovefromthelefttothecentertotheright),thesoundwillappeartoremainatthesamevolume(orloudness).

Ifyouhaveachannelpannedhardleft(orright)andreading0dB,itmustdipdownabout4dBontheleft(orright)whenpannedcenter.Todootherwise(thewayBrandXcompactmixersdo)wouldmakethesoundappearmuchlouderwhenpannedcenter.

3-Band EQThe1402VLZ4has3-bandequalizationatcarefully

selectedpoints—lowshelvingat80Hz,midpeakingat2.5kHz,andhishelvingat12kHz.“Shelving”meansthatthecircuitryboostsorcutsallfrequenciespastthespecifiedfrequency.Forexample,rotatingthelowEQknob15dBtotherightboostsbassstartingat80Hzandcontinuingdowntothelowestnoteyouneverheard.“Peaking”meansthatcertainfrequenciesforma“hill”aroundthecenterfrequency—2.5kHzinthecaseofthemidEQ.

27. Low EQThiscontrolgivesyou

upto15dBboostorcutbelow80Hz.Thecircuitisflat(noboostorcut)atthecenterdetentposition.Thisfrequencyrepresentsthepunchinbassdrums,bassguitar,fatsynthpatches,andsomereallyseriousmalesingers.

Usedinconjunctionwiththelowcut[3]switch,youcanboostthelowEQwithoutinjectingatonofsubsonicdebrisintothemix.

28. Mid EQShortfor“midrange,”

thisknobprovides15dB ofboostorcut,centered at2.5kHz,alsoflatatthecenterdetent.MidrangeEQisoftenthoughtofasthemostdynamic,becausethefrequenciesthatdefineanyparticularsoundarealmostalwaysfoundinthisrange.YoucancreatemanyinterestingandusefulEQchangesbyturningthisknobdownaswellasup.

20Hz 100Hz 1kHz 10kHz 20kHz–15

–10

–5

0

+5

+10

+15

20Hz 100Hz 1kHz 10kHz 20kHz–15

–10

–5

0

+5

+10

+15

Low EQ with Low Cut

Low EQ

20Hz 100Hz 1kHz 10kHz 20kHz–15

–10

–5

0

+5

+10

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29. Hi EQThiscontrolgivesyouup

to15dBboostorcutabove12kHz,anditisalsoflat at the detent. Use it to addsizzletocymbals, andanoverallsenseoftransparency,oredgetokeyboards,vocals,guitarandbaconfrying.Turnitdownalittletoreducesibilance,ortohidetapehiss.

Moderation During EQWithEQ,youcanalsoscrewthingsuproyally.

We’vedesignedalotofboostandcutintoeach equalizercircuit,becauseweknoweveryonewill occasionallyneedthat.ButifyoumaxtheEQson everychannel,you’llgetmixmush.Equalizesubtly andusetheleftsidesoftheknobs(cut),aswellas theright(boost).Veryfewgold-record-albumengineerseverusemorethanabout3dBofEQ.Ifyouneedmorethanthat,there’susuallyabetterwaytogetit,suchasplacingamicdifferently(orusingadifferentkindofmicentirely).

30. Aux 2 Send 31. Aux 1 Send

Theseknobsallowyoutotapaportionofeach channelsignalouttoanothersourceforparallel effectsprocessingorstagemonitoring.Auxsend levelsarecontrolledbytheseknobsandbythe aux1master[40].

Thesearemorethanjusteffectsandmonitorsends.Theycanbeusedtogenerateseparatemixesfor recordingor“mix-minuses”forbroadcast.Byusing aux1inthepre[39]mode,thesemixlevelscanbeobtainedindependentlyofthechannel’slevelcontrol.

Aux1inpostmodeandaux2arepost-lowcut, post-EQandpost-fader.Thatis,thesendsobeythe settingsofthesecontrols.Aux1inpremodefollows theEQandlowcutsettingsonly.Panandlevel(fader)havenoeffectonthepresend(seediagrambelow).

20Hz 100Hz 1kHz 10kHz 20kHz–15

–10

–5

0

+5

+10

+15

High EQ

GAIN INSERTLO CUT EQ

LEVEL PAN MAIN / ALT

AUX 2 KNOB

"POST" SIGNAL

"PRE" SIGNAL

AUX 1 KNOB

"POST" SIGNAL OBEYSMUTE STATUS

INPUT

AUX SEND 1 PRE/POST SWITCH(IN MASTER SECTION)

TO AUX SEND 2 LEVEL

TO AUX SEND 1 LEVEL

Eachauxsendlevelrangesfromoffthroughunity(thecenterdetentposition)onupto15dBofextragain(whenturnedfullyclockwise).Chancesareyou’llneverneedthisextragain,butit’snicetoknowit’sthereifyoudo.

Channel7–14auxpotscontrolthemonosumofthechannel’sstereosignalsforeachauxsend.Forinstance,channel7(L)and8(R)mixtogethertofeedthat channel’sauxsendknobs.

Werecommendgoingintoastereoreverbinmonoandreturninginstereo.Wehavefoundthatonmost“stereo”reverbsthesecondinputjusttiesupanextraauxsendandaddsnothingtothesound.Thereareexceptions,sofeelfreetotryitbothways.Ifyoureffectsdeviceistruestereoallthewaythrough,useaux1tofeeditsleftinputandaux2tofeedtherightinput.

Stillwithus?Goodforyou.Herecomethetrickyparts,theoutputormastersectionwherethemixingisreallydone.Wehaveevenstarteditonanewpage:

“Pre vs. Post”

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4 Output Section33. Control Room Source Matrix

Typically,theengineersendsthemainmixtoanaudience(iflive)oramixdowndeck(ifrecording).Butwhatiftheengineerinthecontrolroomneedstohearsomethingotherthanthemainmix?Withthe1402VLZ4,theengineerhasseveralchoicesofwhattolistento.Thisisoneofthosetrickyparts,sobraceyourself.

Viathesesourceswitches,youcanchoosetolisten toanycombinationofmainmix,alt3-4andtape. Bynow,youprobablyknowwhatthemainmixis. Alt3-4isthatadditionalstereomixbus.Tapeisthestereosignalcominginfromthetapeinput[9]jacks.

Selectionsmadeinthesourcematrixdeliverstereosignalstothecontrolroom,phonesandmeterdisplay.Withnoswitchesengaged,therewillbenosignalattheseoutputsandnometerindication.

Theexceptionisthesolofunction.Regardlessofthesourceselection,engagingachannel’ssolo[24]switchwillreplacethatselectionwiththesolosignal,alsosenttothecontrolroom,phonesandmeter.Thisiswhatmakesthelevel-settingproceduresoeasytodo.

WARNING:Engagingboththetapeand assigntomainmixbuttonscancreateafeedbackpathbetweentapeinputandtape

output.Makesureyourtapedeckisnotinrecord,record-pause,orinput-monitormodewhenyouengagetheseswitches,ormakesurethecontrolroom/submix[34]faderisfullycounterclockwise(off).

Nowyouknowhowtoselectthesignalstosendtotheengineer’scontrolroomorphones.Fromthere,thesesignalsallpassthroughthesamelevelcontrol:

34. Control Room/SubmixThisfadercontrolsthelevelsofboththecontrolroom

outputsandphonesoutputs.Thefaderrangesfromoffthroughunitygainatthe“U”,to10dBofextragain(whenturnedfullyclockwise).

Whenmainmixisyourcontrolroomsourceselection,thosesignalswillnowpassthroughtwolevelcontrolsonthewaytoyourcontrolroomampandphones—themainmix[32]fadersandthiscontrolroom/submixfader.Thisway,youcansendanicehealthyleveltothemainoutput(mainmixfaderat“U”),andaquietleveltothecontrolroomorphones(controlroom/submixfaderwhereveryoulikeit).

Whenalt3-4ortapeisselected,orsoloisengaged,thisfaderwillbetheonlyonecontrollingtheselevels(channelcontrolsnotwithstanding).

32. Main Mix FadersThesefaderscontrolthelevelsofsignalssenttothe

mainoutputs:XLR[13]and1⁄4"[11]andtape[10].Allchannelsandstereoreturnsthatarenotmutedorturnedfullydownwillwindupinthemainmix.

Fullycounterclockwiseisoffandfullyclockwiseprovides10dBofadditionalgain.Thisadditionalgainwilltypicallyneverbeneeded,butonceagain,it’snicetoknowit’sthere.ThisisthefadertomovedownattheendofthesongwhenyouwantTheGreatFade-Out.

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Whateveryourselection,youcanalsousethecontrolroomoutputsforotherapplications.Itssoundqualityisjustasimpeccableasthemainoutputs.Itcanbeusedasadditionalmainmixoutput,whichmaysoundsillysincetherearealreadythree,butthisonehasitsownlevelcontrol.However,shouldyoudosomethinglikethis,besurethatyoudonotengageasoloswitch,asthatwillinterruptyoursourceselection.

35. Solo Mode (AFL/PFL) Engagingachannel’ssolo[24]switchwillcause

thisdramaticturnofevents:Anyexistingsource matrixselectionswillbereplacedbythesolosignal,appearinginthecontrolroom,headphones,andmeter.Theaudiblesololevelsarethencontrolledbythe controlroom/submix[34]fader.Thesololevels appearingontherightmeterdisplayarenotcontrolledbyanything—youwouldn’twantthat.Youwanttoseetheactualchannellevelonthemeterdisplayregardlessofhowloudyou’relistening.

Withthissolomodeswitchintheupposition,you'reinAFLmode,meaningAfter-Fader-Listen.You'llheartheoutputofthesoloedchannelanditwillfollowthegain,EQ,faderandpansettings.It'ssimilartomutingalltheotherchannels,butwithoutthehassle.UseAFLmodeduringmixdown.

Withthesolomodeswitchinthedownposition,you'reinPFLmode,meaningPre-Fader-Listen (postEQ).Thisisrequiredforthelevelsetting procedure,andishandyforquickspot-checksof channels,especiallyonesthathavetheirfaders turneddown.

Ineithermode,solowillnotbeaffectedbya channel'smute/alt[25]switchposition.

36. Rude Solo LightThisflashingLightEmittingDiodeservestwo

purposes—toremindyouthatatleastonechannel isinsolo,andtoletyouknowthatyou’remixingon a1402VLZ4.Noothercompanyissoconcernedaboutyourlevelofsoloawareness.Ifyouworkonamixer thathasasolofunctionwithnoindicatorlights,and youhappentoforgetyou’reinsolo,youcaneasilybetrickedintothinkingthatsomethingiswrongwithyourmixer.Hencetherudesololight.It’sespeciallyhandy atabout3a.m.whennosoundiscomingoutofyourmonitorsbutyourmultitrackisplayingbacklikemad.

37. Assign To Main MixLet’ssayyou’redoingaliveshow.Intermissionis

nearingandyou’llwanttoplayasoothingCDforthecrowdtopreventthemfromeatingthefurniture. Thenyouthink,“ButIhavetheCDplayerpluggedintothetapeinputs,andthatnevergetstothemainouts!”Oh,butitdoes.Simplyengagethisswitchandyour controlroomsourceselection,aftergoingthrough thecontrolroom/submix[34]fader,willfeedinto themainmix,justasifitwereanotherstereochannel.

Anotherhandyuseforthisswitchistoenablethe alt3-4mixtobecomeasubmixofthemainmix,usingthecontrolroom/submixfaderasitslevelcontrol.

Sideeffects:(1)Engagingthisswitchwillalsofeedanysoloedchannelsintothemainmix,whichmaybethelastthingyouwant.(2)Ifyouhavemainmixasyourcontrolroomsourceselectionandthenengage assigntomainmix,themainmixlinestothecontrolroomwillbeinterruptedtopreventfeedback.Thenagain,whywouldanyonewanttoassignthemainmix tothemainmix?

38. Meters – Many Displays In One!The1402VLZ4’speakmeteringsystemismadeup

oftwocolumnsoftwelveLEDs.Deceptivelysimple,consideringthemultitudeofsignalsthatcanbe monitoredbyit.

Ifnothingisselectedinthesourcematrixand nochannelsareinsolo,themeterswilljustsitthereanddonothing.Toputthemtowork,youmustmakeaselectioninthesourcematrix(orengageasoloswitch).

Why?Youwantthemeterdisplaytoreflectwhattheengineerislisteningto,andaswe’vecovered,the engineerislisteningeithertothecontrolroomoutputsorthephonesoutputs.Theonlydifferenceisthatwhilethelisteninglevelsarecontrolledbythecontrolroom/submix[34]knob,themetersreadthesourcemixbeforethatcontrol,givingyoutherealfactsatalltimes,evenifyou’renotlisteningatall.

Thankstothe1402VLZ4’swidedynamicrange, youcangetagoodmixwithpeaksflashinganywherebetween–20and+10dBonthemeters.Most amplifiersclipatabout+10dB,andsomerecordersaren’tsoforgivingeither.Forbestreal-worldresults, trytokeepyourpeaksbetween“0”and“+7”.

Youmayalreadybeanexpertattheworldof“+4”(+4dBu=1.23V)and“–10”(–10dBV=0.32V)operatinglevels.Basically,whatmakesamixeroneortheotheristherelative0dBVU(or0VU)chosenforthemeters.A“+4”mixer,witha+4dBusignalpouringoutthebackwillactuallyread0VUonitsmeters.A“–10”mixer,witha–10dBVsignaltricklingout,willread0VUonitsmeters.Sowhenis0VUactually0dBu?Rightnow!

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4 Attheriskofcreatinganotherstandard,1402VLZ4mixersaddresstheneedofbothcrowdsbycallingthingsastheyare—0dBu(0.775V)attheoutputshowsas 0dBVUonthemeters.Whatcouldbeeasier?Bytheway,themostwonderfulthingaboutstandardsisthattherearesomanytochoosefrom.

Remember,audiometersarejusttoolstohelpassureyouthatyourlevelsare“intheballpark.”Youdon’thavetostareatthem(unlessyouwantto).

A Word About AuxSendsareoutputs,returnsareinputs.thechannel

aux[30and31]knobstapthesignaloffthechannelandsendsittotheauxsend[8]outputs.Aux1signalissenttotheaux1master[40]knobbeforegoingtotheauxsend1[8]outputandtheaux2signalgoesdirectlytotheauxsend2[8]output.

Theseoutputscanbefedtotheinputsofareverborotherdevice.Fromthere,theoutputsofthisexternaldevicearefedbacktothemixer’sstereoreturn[7]jacks.Thenthesesignalsaresentthroughthestereoreturn[41]levelcontrols,andfinallydeliveredtothemainmix.

39

4042 41

So,theoriginal“dry”signalsgofromthechannelstothemainmixandtheaffected“wet”signalsgofromthestereoreturntothemainmix,andoncemixedtogether,thedryandwetsignalscombinetocreateaglorioussound.So,armedwiththisknowledge,let’svisittheAuxiliaryWorld:

39. Pre Or Post (Aux 1) Besidesbeingusedtoworkeffectsintoyourmix,aux

sendsserveanothercriticalrole—thatofdeliveringcuemixestostagemonitors,somusicianscanhearwhatthey’redoing.Onthe1402VLZ4,auxsend1canplayeitherrole,dependingonthepositionofthisswitch.

Withthisswitchup(disengaged),auxsend1will tapachannelpre-fader(level)andpre-mute/alt3-4,meaningthatnomatterhowyoumanipulatethosecontrolsastheyfeedthemainmix,theauxsendwillcontinuetobeltoutthatchannel’ssignal.Thisisthepreferredmethodforsettingupstagemonitorfeeds. EQsettingswillaffectallauxsends.

Withtheswitchdown,theauxsend1becomes anordinaryeffectssend—post-fader(level)and post-mute/alt3-4.Thisisamustforeffectssends, sinceyouwantthelevelsofyour“wet”signalsto followthelevelofthe“dry.”

40. Aux 1 MasterThisknobprovidesoveralllevelcontrolofauxsend1,

justbeforeit’sdeliveredtotheauxsend1[8]output.(Auxsend2hasnosuchcontrol.)Thisknobgoesfromoff(turnedfullydown),tounitygainatthecenterdetent,with10dBofextragain(turnedfullyup). Aswithsomeotherlevelcontrols,youmayneverneedtheadditionalgain,butifyoueverdo,you’llbegladyouboughta1402VLZ4.

Thisisusuallytheknobyouturnupwhentheleadsingerglaresatyou,pointsathisstagemonitor,andstickshisthumbupintheair.(Itwouldfollowsuitthatifthesingerstuckhisthumbdown,you’dturntheknobdown…butthatneverhappens.)

41. Stereo ReturnsThesetwocontrolssettheoveralllevelofeffects

receivedfromstereoreturn[7]inputs1and2.Thesecontrolsaredesignedtohandleawiderangeofsignallevels,fromoff,tounitygainatthedetent,with20dBgainfullyclockwise,tocompensateforlow-leveleffects.

Typically,theseknobscanjustliveatthecenterdetent,andtheeffectsdevice’soutputcontrolshouldbesetatwhatevertheycallunitygain(checktheirmanual).Ifthatturnsouttobetooloudortooquiet,adjusttheeffectsdevice’soutputs,notthemixer. Thatway,themixer’sknobsareeasytorelocate at the center detent.

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Signalspassingthroughthesecontrolswillproceeddirectlytomainmix,withoneexception(seeparagraphbelow).Thestereoreturnsdonothavemute/alt3-4switches,soifyouwantthesesignalstogettothealt3-4mix,you’llhavetopatchtheeffectsdevice’soutputsintooneofthestereochannels,andmute/altthosechannels.

42. Return To Aux 1Ifyouwanttoaddreverbordelaytothestagemonitor

mixesofaux1,thisistheswitchforyou.

Withtheswitchup,stereoreturn1and2behave normally—theydelivertheirsignalsintothemain mix.Withtheswitchdown,stereoreturn1still behavesnormally,butstereoreturn2willfeed auxsend1insteadofthemainmix.

Stillwithus?Good.Sofar,withtheswitchdown,wehavestereoreturn1feedingthemainmixandstereoreturn2feedingauxsend1.Now,supposeyouonlyhaveoneeffectsdevice,andyouwantittofeedboththemainmixandauxsend1.That’swhere“jacknormalling”comesin:

Jack NormallingJacknormalling(nottobeconfusedwithJack

Normalling,ChicagoCubsutilityinfielder,1952-61, .267LBA)isafeaturefoundonalmosteverymixer,keyboardandeffectsdevice.Thesejackshavespecialspring-loadedpinsthatconnecttothesignalpins,butwhensomethingispluggedintothejack,thatconnectionisbroken.

Thesenormallingpinscanbeusedinallsortsof ways.Theubiquitousphrase“left(mono)”meansthat ifyouplugasignalintotheleftsideandhavenothing intherightside,thatsignalisalsofedtotherightinput,courtesyofjacknormalling.Assoonasyouplugsomethingintherightside,thatnormalledconnectionisbroken.

Howdoesallthisrelatetothereturntoaux1switch?Stereoreturn1’sinputsarenormalledtostereoreturn2.Ifyouhaveoneeffectsdevice,plugitintostereoreturn1.Plugnothingintostereoreturn2.Nowthe signalsfeedingthestereoreturn1inputswillalso besenttothestereoreturn2inputs.

Engagethereturntoaux1switch,andnowthestereoreturn2knobwillbecomeanadditionalauxsend1knobforthesignalatauxreturn1.Saythattentimesfast!Onceagain,auxreturn1willbehavenormally,asalways.

Congratulations!You’vejustreadaboutallthe featuresofyour1402VLZ4.You’reprobablyreadyfor acoldone.Goahead.Therestofthemanualcanwait.

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4 Appendix A: Service InformationWarranty Service

Ifyouthinkyour1402VLZ4hasaproblem,pleasecheckoutthefollowingtroubleshootingtipsanddo yourbesttoconfirmtheproblem.VisittheSupport sectionofourwebsite(www.720trees.com)whereyouwillfindlotsofusefulinformationsuchasFAQsandotherdocumentation.Youmayfindtheanswertotheproblemwithouthavingtosendyourmixeraway.

TroubleshootingBad Channel

• Isthemute/alt3–4switchinthecorrect position?

• Isthefaderturnedup?

• Tryunplugginganyinsertdevices (channels1–6only).

• Trythesamesourcesignalinanotherchannel,setupexactlylikethesuspectchannel.

Bad Output

• Istheassociatedlevelknob(ifany)turnedup?

• Ifit’soneofthemainouts,tryunpluggingalltheothers.Forexample,ifit’sthe1⁄4"leftmainout,unplugtheRCAandXLRleftoutputs.Iftheproblemgoesaway,itsnotthemixer.

• Ifit’sastereopair,tryswitchingthemaround.Forexample,ifaleftoutputispresumeddead,switchtheleftandrightcords,atthemixerend.Iftheproblemswitchessides,it’snotthemixer.

Noise

• Turnthechannelgainandstereoreturnknobsdown,onebyone.Ifthesounddisappears,it’seitherthatchannelorwhateverispluggedintoit,sounplugwhateverthatis.Ifthenoisedisappears,it’sfromyourwhatever.

Power

• Unplugthepowercordandcheckthefuse.

RepairForwarrantyservice,refertothewarranty

informationonpage27.

Non-warrantyserviceisavailableatafactory- authorizedservicecenter.Visitthesupport sectionofourwebsite(www.720trees.com)whereyouwillfindlotsofusefulinformationsuchasFAQsandotherdocumentation.Servicefora1402VLZ4livingoutsidetheUnitedStatesmaybeobtainedthrough localdealersordistributors.

Ifyoudonothaveaccesstoourwebsite,youcancallourTechSupportdepartmentat1-800-898-3211,Monday-Friday,normalbusinesshours,PacificTime, toexplaintheproblem.TechSupportwilltellyouwherethenearestfactory-authorizedservicecenterislocatedinyourarea.

Appendix B: ConnectionsBalanced XLR Input Connector

The1402VLZ4mixerhassixfemaleXLRinputs.BesurethecablesarewiredperAES(AudioEngineeringSociety)standards:

Balanced XLR Input Connector

Pin1–Shield(Ground) Pin2–Positive(+orhot) Pin3–Negative(–orcold)

2

3 1

SHIELD

COLD

HOT

SHIELD

COLD

HOT

3

2

1

Balanced XLR Input Connector

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Balanced XLR Output Connector

ThemaleXLRconnectorsprovideabalancedline- levelsignalthatrepresentstheendofthemixer,wherethefullymixedstereosignalenterstherealworld. Connectthesetotheleftandrightline-levelinputsofpoweredspeakersortotheleftandrightline-levelinputsofanamplifier(withspeakersalreadyattached).BesurethecablesarewiredperAES(Audio EngineeringSociety)standards:

Balanced XLR Output Connector

Pin1–Shield(Ground) Pin2–Positive(+orhot) Pin3–Negative(–orcold)

Balanced 1/4" TRS Connector

TRSstandsforTip-Ring-Sleeve,thethreeconnectionsavailableonastereo1/4"cable.Thisallowsforadirectconnectiontothechannelinputjacks.BesurethecablesarewiredperAES(AudioEngineeringSociety)standards:

Balanced 1/4" TRS Connector

Sleeve–Shield(Ground) Tip–Positive(+orhot) Ring–Negative(–orcold)

TRSjacksandplugsareusedinseveraldifferent applications:

• Balancedmonocircuits.Whenwiredasa balancedconnector,a1⁄4"TRSjackorplug isconnectedtiptosignalhigh(hot),ringtosignallow(cold),andsleevetoground(earth).

• StereoHeadphones,andrarely,stereo microphonesandstereolineconnections. Whenwiredforstereo,a1⁄4"TRSjackorplugisconnectedtiptoleft,ringtorightandsleevetoground(earth).VLZ4mixersdonotdirectly

2

1

SHIELD

COLD

HOT

3

SHIELD

COLDHOT

3

2

1

Balanced XLR Output Connector

SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING

Balanced 1/4" TRS Connector

accept1-plug-typestereomicrophones.Theymustbeseparatedintoaleftcordandarightcord,whicharepluggedintothetwomic preamps.

Youcancookupyourownadapterforastereomicrophone.“Y”twocablesoutofafemale1⁄4"TRSjacktotwomaleXLRplugs,onefortherightsignalandonefortheleft.

• Unbalancedsend/returncircuits.Whenwiredasasend/return“Y”connector,a1⁄4"TRSjackorplugisconnectedtiptosignalsend(outputfrommixer),ringtosignalreturn(inputbackintomixer),andsleevetoground(earth).

Unbalanced 1/4" TS Connector

TSstandsforTip-Sleeve,thetwoconnections availableonamono1⁄4"cable.Thisallowsforadirectconectiontothechannelinputjacks.BesurethecablesarewiredperAES(AudioEngineeringSociety) standards:

Unbalanced 1/4" TS Connector

Sleeve–Shield(Ground) Tip–Positive(+orhot)

TSjacksandplugsareusedinmanydifferentapplications,alwaysunbalanced.Thetipisconnected totheaudiosignalandthesleevetoground(earth).Someexamples:

• Unbalancedmicrophones

• Electricguitarsandelectronicinstruments

• Unbalancedline-levelconnections

Switched 1/4" Phone Jacks

Switchescanbeincorporatedinto1⁄4"phonejacks,whichareactivatedbyinsertingtheplug.Theseswitchesmayopenaninsertloopinacircuit,changetheinputroutingofthesignalorserveotherfunctions.The1402VLZ4usesswitchesinthechannelinsertandbusinsertjacks,inputjacksandstereoreturns.Italsousestheseswitchestogroundtheline-levelinputswhennothingispluggedintothem.

Inmostcases,theplugmustbeinsertedfullytoactivatetheswitch.The1402VLZ4takesadvantageofthisinsomecircuits,specifyingcircumstanceswhereyouaretoinserttheplugonlypartially.See“SpecialConnections”,onthenextpage.

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

Unbalanced 1/4" TS Connector

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4 Unbalanced RCA ConnectorRCA-typeplugs(alsoknownasphonoplugs)

andjacksareoftenusedinhomestereoandvideoequipmentandinmanyotherapplications.RCAplugsareunbalanced.Connectthesignaltothecenterpostandtheground(earth)orshieldtothesurrounding“basket.”BesurethecablesarewiredperAES(AudioEngineeringSociety)standards:

Unbalanced RCA Connector

Sleeve–Shield(Ground) Tip–Positive(+orhot)

Unbalancing a LineInmoststudio,stageandsoundreinforcementsitu-

ations,thereisacombinationofbalancedandunbal-ancedinputsandoutputsonthevariouspiecesofequipment.Thisusuallywillnotbeaprobleminmakingconnections.

• Whenconnectingabalancedoutputtoanunbalancedinput,besurethesignalhigh(hot)connectionsarewiredtoeachother,andthatthebalancedsignallow(cold)goestotheground(earth)connectionattheunbalancedinput.Inmostcases,thebalancedground(earth)willalsobeconnectedtotheground(earth)attheunbalancedinput.Ifthereareground-loopproblems,thisconnectionmaybeleftdisconnectedatthebalancedend.

• Whenconnectinganunbalancedoutputtoabalancedinput,besurethatthesignalhigh(hot)connectionsarewiredtoeachother.Theunbalancedground(earth)connectionshouldbewiredtothelow(cold)andtheground(earth)connectionsofthebalancedinput.Ifthereareground-loopproblems,tryconnectingtheunbalancedground(earth)connectiononlytotheinputlow(cold)connection,andleavingtheinputground(earth)connectiondiscon-nected.

• Insomecases,youwillhavetomakeupspecialadapterstointerconnectyourequipment.Forexample,youmayneedabalancedXLRfemaleconnectedtoanunbalanced1⁄4"TSphoneplug.

TIPSLEEVETIPSLEEVE

Unbalanced RCA Connector

TRS Send/Receive Insert Jacks

Single-jackinsertsarethree-conductor,TRS-type1⁄4"phone.Theyareunbalanced,buthaveboththemixeroutput(send)andthemixerinput(return)signalsinoneconnector.Seetheillsutrationbelow.

Thesleeveisthecommonground(earth)forbothsignals.Thesendfromthemixertotheexternalunitiscarriedonthetip,andthereturnfromtheunittothemixerisonthering.

Special ConnectionsThebalanced-to-unbalancedconnectionhasbeen

anticipatedinthewiringof1402VLZ4jacks.A1⁄4"TSpluginsertedintoa1⁄4"TRSbalancedinput,for example,willautomaticallyunbalancetheinputandmakealltherightconnections.Conversely,a1⁄4" TRSpluginsertedintoa1⁄4"unbalancedinputwill automaticallytiethering(loworcold)toground(earth).

Using the Send Only on an Insert Jack

IfyouinsertaTS(mono)1⁄4"plugonlypartially(tothefirstclick)intoaVLZ4insertjack,theplugwillnotactivatethejackswitchandwillnotopentheinsertloopinthecircuit(therebyallowingthechannelsignaltocontinueonitsmerrywaythroughthemixer).

Thisallowsyoutotapoutthechannelorbussignalwithoutinterruptingnormaloperation.

Ifyoupushthe1⁄4"TSplugintothesecondclick,youwillopenthejackswitchandcreateadirectout,whichdoesinterruptthesignalinthatchannel.Seetheillustrationonthenextpage.

Unbalanced 1/4" Insert Connectors

tip

This plug connects to one of the mixer’s Channel Insert jacks. ring

tipring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

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NOTE:Donotoverloadorshort-circuitthesignalyouaretappingfromthemixer.Thatwillaffecttheinternalsignal.

Direct out with no signal interruption to master.

Insert only to first click.

Channel Insert jack

Channel Insert jack

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second click.

For use as an effects loop.

(Tip = Send TO effect, Ring = Return FROM effect).

MONO PLUG

MONO PLUG

STEREO PLUG

Using the Send Only on an Insert Jack

Y-cord splitter cable

VLZ4 Stereo Inputs and Returns: Mono, Stereo, Whatever

Stereolineinputsandstereoreturnsareafine exampleofourphilosophy(whichwejustmadeup) ofMaximumFlexibilitywithMinimumHeadache. Theinputsandreturnswillautomaticallybemono orstereo,dependinguponhowyouusethejacks. Here’showitworks:

Amonosignalshouldbepatchedintotheinput orreturnjacklabeledleft(mono).Thesignalwill beroutedtoboththeleftandrightsidesofthereturncircuit,andwillshowupinthecenterofthestereopairofbusesit’sassignedto,oritcanbepannedwiththepan[26]control.

Astereosignal,havingtwoplugs,shouldbepatchedintotheleft(mono)andtherightinputorreturnjacks.Ajackswitchintherightjackwilldisablethemonofunction,andthesignalswillshowupinstereo.

Amonosignalconnectedtotherightjackwillshowupintherightbusonly.Youprobablywillonlywanttousethissophisticatedeffectforspecialoccasions.

Mults and “Y”s

Amultor“Y”connectorallowsyoutorouteoneoutputtotwoormoreinputsbysimplyprovidingparallel wiringconnections.Youcanmake“Y”sandmultsfor theoutputsofbothunbalancedandbalancedcircuits.

Remember:Onlymultor“Y”oneoutputintoseveralinputs.Ifyouneedtocombineseveraloutputsintooneinput,youmustuseamixer,

notamultora“Y.”

TIP (SEND)

RING (IN)

TIP (OUT)

RING (RETURN)

TO MIXERCHANNEL INSERT

RING (RETURN)

TIP (SEND)

TO PROCESSOR

INPUT

FROM PROCESSOR

OUTPUT

Y-cord insert cable

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4Appendix C: Technical InformationSpecificationsMain Mix Noise(20 Hz–20 kHz bandwidth, 1/4" Main out, channels 1–6 Trim @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1, 3 and 5 Pan left, 2, 4 and 6 Pan right.)

Main Mix fader down, channel faders down: –101 dBu

Main Mix @ unity, channel faders down: –91 dBu

(95 dB Signal to Noise Ratio, ref +4 dBu)

Main Mix fader @ unity, channel faders @ unity: –86 dBu

Total Harmonic Distortion (THD)(1 kHz @ 35 dB gain, 20 Hz–20 kHz bandwidth)

Mic pre @ insert: 0.0007%

Attenuation (Crosstalk)(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity.)

Main Mix fader down: –100 dBu

Channel Alt / Mute switch engaged: –90 dBu

Channel fader down: –90 dBu

Frequency ResponseMic Input to Main Output (Gain @Unity)

+0, –1 dB, 20 Hz to 50 kHz

+0, –3 dB, 100 kHz

Equivalent Input Noise (EIN)(Mic in to Insert Send out, max gain.)

150 termination: –128.5 dBu, 20 Hz–20 kHz

Common Mode Rejection Ratio (CMRR)(Mic in to Insert Send out, max gain.)

1 kHz: better than –70 dB

Maximum LevelsMic in: +22 dBu

Tape in: +16 dBu

All other inputs: +22 dBu

Main Mix XLR out: +28 dBu

All other outputs: +22 dBu

ImpedancesMic in: 2.5 k

Channel Insert return: 2.5 k

All other inputs: 10 k or greater

Tape out: 1.1 k

All other outputs: 120

EQHigh Shelving ±15 dB @ 12 kHz

Mid Peaking ±15 dB @ 2.5 kHz

Low Shelving ±15 dB @ 80 Hz

Power Consumption 25 watts

Fuse Rating100-120V: 500 mA slo blo, 5 x 20 mm

220-240V: 250 mA slo blo, 5 x 20 mm

Weight 9.5 lb (4.5 kg)

Dimensions (H x W x D) 12.5" x 14.0" x 3.2" (317 mm x 356 mm x 81 mm)

Microphone StandThebottompanelof

the1402VLZ4hasthreenon-threadedholesthatallowittobefittedwithanoptionalmicrophonestandadapter.Thisallowsyoutosupportthemixeronastandardmicstand,andadjustits height and level to whateversuitsyourstrangely-complexsetofpreferences.

1. Order the Atlas AD-11Bmicstandadapteravailablefrommanyafinemusicstore.(ItismadeanddistributedbyAtlasSound.)

2. UsethreeTrilobularthreadrollingscrews 6-32x1/4"longtosecuretheadapterto thebottomofthe1402VLZ4[seebelow].

Donotusescrewslongerthan1/4",asthesecoulddamagethecircuitboards.Donotusescrewsshorterthan1/4",ortheadapterwillnotbesecurelyfixedtothemixer.

3. DonotordertheAtlasAD-11,asthisisapackof100.Ifyoudo,pleasesendfortheinformativebookletentitled99 things to do with a mic stand adapter.

bottom panel

Holes for mic stand adapter

3.2 in81 m

m

WEIGHT9.5 lb 4.5 kg

14.0 in / 356 mm

12.5 in / 317 mm

19.0 in / 483 mm(optional Rack Mount Kit)

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Block Diagram

MA

IN M

IXM

AIN

FA

DERS

30dB

PA

D

TAPE

OU

T L

LIN

E O

UT

L

BAL

OU

T L

BAL

OU

T R

LIN

E O

UT

R

ALT

MIX

ALT

OU

T L

ALT

OU

T R

ALT

TAPE

MA

IN

SO

URC

E

CON

TRO

L RO

OM

&PH

ON

ES F

ADE

R

MET

ERIN

G(0

dBu

= 0

VU)

CON

TRO

L RO

OM

LEF

T

CON

TRO

L RO

OM

RIG

HT

PHO

NES

OU

T

AUX

1 MIX

AUX

1 PRE

/ PO

ST

AUX

2 O

UT

AUX

1 OU

T

TAPE

IN

L RCO

NTR

OL

ROO

M &

PHO

NES

MIX

2 31

2 31

AUX

1 LEV

EL

TAPE

OU

T R

20 10 7 4 2 0 2 4 7 10 20 30

SO

LO R

ELAY

PFL

LED

RUDE

SO

LOLE

D

AFL

(A

FTER

FA

DER

LIST

EN)

PFL

(PRE

-FA

DER

LIST

EN)

AS

SIG

N T

O M

AIN

AFL

L

PFL

AFL

R

AUX

2 M

IX

SO

LO M

IX

MID

HI

80

2K5

12K

LO

MAIN LMAIN RALT LALT R

AUX 1 PREAUX 1 POSTAUX 2 POST

SOLO/PFL

AFL L

PHA

NTO

M P

OW

ER (G

LOBA

L S

WIT

CH)

MIC

IN

LIN

E IN

GA

IN

INS

ERT

LOW

CU

T

3-BA

ND

EQ

FADE

RPA

NM

UTE

/ A

LT

MO

NO

CH

AN

NEL

(1 O

F 6

)

21

3

STER

EO C

HA

NN

EL (1

OF

4)

LIN

E IN

L

LIN

E IN

R

3-BA

ND

EQ

FADE

R

PAN

MU

TE /

ALT

STER

EO R

ETU

RN 1

L IN

R IN

STER

EO R

ETU

RN 2

L IN

(MO

NO

)

R IN

GA

IN

GA

IN

RETU

RN T

OAU

X 1

MID

HI

80

2K5

12K

LO

MID

HI

80

2K5

12K

LO

75H

zH

PF

+4 /-

10

AFL R

LOGIC

1 2 3 4 AFL

L

AFL

R

POST

LOG

IC

SO

LO

AUX

SEN

D 2

AUX

SEN

D 1

PRE

PFL

1 2 3 4 AFL

L

AFL

R

LOG

IC

SO

LO

PFL

POST

AUX

SEN

D 2

AUX

SEN

D 1

PRE

Since we are always striving to make our products better by incorporating new and improved materials, components, and manufacturing methods, we reserve the right to change these specifications at any time without notice.

The “Running Man” figure is a registered trademark of LOUD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged.

©2014 LOUD Technologies Inc. All Rights Reserved.

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1402VLZ4 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.720trees.com 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.720trees.com 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.720trees.com.

The Product Warranty, together with your invoice or receipt, and the terms and conditions located at www.720trees.com 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.

16220 Wood-Red Road NE Woodinville, WA 98072 • USAPhone: 425.487.4333Toll-free: 800.898.3211Fax: 425.487.4337 www.720trees.com

Front CoverImportant Safety InstructionsContentsFeaturesIntroductionGetting StartedHookup DiagramsPatchbay Description1. Mic Ins (Channels 1-6)Phantom Power2. Line Ins (Channels 1-6)3. Low Cut (Channels 1-6)4. Gain (Channels 1-6)5. Stereo Line Ins (Channels 7-8, 9-10, 11-12 and 13-14)6. +4/-10 Level (Stereo Channels Only)Effects: Serial or Parallel?7. Stereo Returns8. Aux Send 1&29. Tape In10. Tape Out11. 1/4" Main Outs12. Headphones Out13. XLR Main Outs14. XLR Main Out Level Switch15. Control Room Outs16. Alt 3-4 Outs17. Channel Insert (Channels 1-6)18. Power Connection19. Fuse20. Voltage Selector21. Power Switch22. Phantom Switch

Channel Strip Description23. Channel Fader24. Solo25. Mute/Alt 3-426. Pan27. Low EQ28. Mid EQ29. Hi EQ30. Aux 2 Send31. Aux 1 Send

Output Section32. Main Mix Faders33. Control Room Source Matrix34. Control Room/Submix35. Solo Mode (AFL/PFL)36. Rude Solo Light37. Assign to Main Mix38. Meters39. Pre or Post (Aux 1)40. Aux 1 Master41. Stereo Returns42. Return to Aux 1Jack Normalling

Appendix A: Service InformationAppendix B: ConnectionsAppendix C: Technical InformationSpecificationsDimensionsBlock DiagramTrack Sheet

Warranty StatementRear Cover