16-Channel 4-Bus Compact Mixer OWNER’S MANUALdesign that made the 1604 an industry mainstay. All...

1604VLZ4

O W N E R ’ S M A N U A L

16-Channel 4-Bus Compact Mixer

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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 (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.

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Part No. SW0972 Rev. A 06/13©2013 LOUD Technologies Inc. All Rights Reserved.

Contents25. CHANNEL FADER ..................................... 15 A CLEAN FADE ........................................ 1526. ASSIGN (1–2, 3–4, L–R) ........................ 1527. SOLO ..................................................... 1628. –20 (SOLO) LED ..................................... 1629. OL (MUTE) LED ....................................... 1630. MUTE .................................................... 1631. PAN....................................................... 17 STEREO SOURCES ................................... 17 CONSTANT LOUDNESS ! ! ! ...................... 1732. 3-BAND MID-SWEEP EQ ......................... 1733. LOW CUT .............................................. 1834. AUX 1, 2, 3, & 4 .................................... 1835. PRE ....................................................... 1836. 5/6 SHIFT ............................................. 18

OUTPUT SECTION DESCRIPTION ............................. 1937. MAIN MIX FADER ................................... 1938. SUBGROUP FADERS ............................... 1939. ASSIGN TO MAIN MIX ............................ 1940. TAPE IN (LEVEL) ..................................... 2041. TAPE TO MAIN MIX ................................ 2042. SOURCE ................................................ 2043. CR/PHONES .......................................... 2044. MODE (AFL/PFL) .................................... 2145. LEVEL SET LED ........................................ 2146. SOLO (LEVEL) ......................................... 2147. RUDE SOLO LIGHT .................................. 2148. METERS ................................................. 22 METERS VS. REALITY .............................. 22 AUX TALK .............................................. 2349. AUX SENDS (MASTER) ............................ 2350. AUX SENDS SOLO .................................. 2351. STEREO RETURNS (LEVEL) ....................... 2352. TO AUX 1 AND TO AUX 2 ....................... 2453. MAIN MIX TO SUBS (STEREO RET 3) ....... 2454. 1–2/3–4 (STEREO RETURN 3) ................ 2455. CR/PH ONLY (STEREO RETURN 4) .......... 2556. RETURNS SOLO AND LED ........................ 25

APPENDIX A: SERVICE INFORMATION .................... 26APPENDIX B: CONNECTIONS.................................. 26APPENDIX C: TECHNICAL INFORMATION ................ 30 DIMENSIONS .................................................. 31 TRACK SHEET.................................................. 32 BLOCK DIAGRAM ............................................ 341604VLZ4 LIMITED WARRANTY ............................ 35

IMPORTANT SAFETY INSTRUCTIONS ........................ 2CONTENTS .............................................................. 3FEATURES / INTRODUCTION ................................... 4GETTING STARTED ................................................... 5HOOKUP DIAGRAMS............................................... 6CONVERTING TO RACKMOUNT MODE ...................... 8PATCHBAY DESCRIPTION ......................................... 9

EZ INTERFACE .......................................... 91. MIC INS ................................................... 9 PHANTOM POWER .................................... 92. LINE INS ................................................ 103. GAIN .................................................... 104. INSERT .................................................. 105. DIRECT OUT ........................................... 10 SPLIT MONITORING ............................... 106. AUX SENDS ............................................ 11 EFFECTS: SERIAL OR PARALLEL? .............. 117. STEREO RETURNS ................................... 128. SUB OUTS ............................................. 12 DOUBLE BUSING .................................... 129. CR OUTS (CONTROL ROOM OUTPUTS) .... 1210. PHONES OUT (ON FRONT PANEL) ........... 1211. TAPE OUT .............................................. 1212. TAPE IN ................................................. 1313. MAIN INSERT ......................................... 1314. MAIN OUTS .......................................... 1315. MONO OUT............................................ 1316. MONO LEVEL ......................................... 1317. VOLTAGE SELECTOR ................................ 1318. POWER CONNECTION ............................. 1319. FUSE ...................................................... 1420. POWER SWITCH ..................................... 1421. POWER LED ........................................... 1422. PHANTOM SWITCH ................................ 1423. 48V LED ................................................ 1424. BNC LAMP SOCKET ................................. 14

CHANNEL STRIP DESCRIPTION ............................... 15 “U” LIKE UNITY GAIN ............................ 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 • 16-channelmixerfeaturingoursignature

high-headroom,low-noisedesign

• 16boutique-qualityOnyxmicpreamps •Ultra-wide60dBgainrange •128.5dBdynamicrange •+22dBulineinputhandling •Extendedfrequencyresponse •Distortionunder0.0007%(20Hz-50kHz)

• ImprovedRFrejection,perfectforbroadcastapplications

• Phantompowerforcondensermics

• 16high-headroomlineinputswith +4/–10operationcontrol

• 16balancedinsertsperfectforintegratingoutboardgear

• 3-bandEQwithsweepablemidrange

• 18dB/oct75Hzlow-cutfilteronmicinputchannels

• Fourauxsends,level,panandsoloand overload/muteLEDsoneachchannel

• Fourstereoreturns,eightdirectouts andfourgroup/busoutputs

• 60mmlong-wearinglog-taperfaders

• Controlroom/phonesmulti-inputsource matrix

• High-resolution12-segmentstereometers

• Sealedrotarycontrolresistdustandgrime

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

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

• Rack-mountabledesignwiththreephysicalconfigurationsviaRotopodaccessory (soldseparately)

• Multi-voltagepowersupplyforworldwideuse

IntroductionAlegendincompactmixerdesign,the1604VLZ4

nowcombinestheprovenperformanceofOnyxpreampswiththeno-compromisehigh-headroom/low-noise designthatmadethe1604anindustrymainstay.

All16channelsfeatureanOnyxmicpre,line inputandinsertinacompact4-busdesignbuilt forapplicationflexibilityandprofessionalperformance.Plus,itistruly“Built-Like-A-Tank”witharidiculouslyruggedsolid-steelchasisthatincludeshigh-contrastcontrolsforultimatetactilecontrol.

Foundincountlessprofessionalbroadcastandpost facilitiesandeasilythemostprovenband-friendly analogmixerever,the1604standsaloneintheworld ofcompactmixing.

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: [email protected].

• 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(seepage13).

2. PushthelinecordsecurelyintotheIECconnectorontherearpanel,andplugitintoa3-prongACoutlet.ThemixermayacceptanyACvoltagerangingfrom100VACto240VAC.

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

4. Ifyourmicrophonerequiresphantompower,turnonthe48Vphantompowerbutton.

5. All16channelshaveinsertjacksthatcanbeusedtoconnectanexternaleffectsordynamicsprocessorintothesignalchain.

6. ConnecttheTRS1/4"mainoutputsofthemixertothelinelevelinputsofyouramplifier(withspeakersalreadyattached)ortothelinelevelinputsofpoweredspeakers.

Set the levels

It’snotevennecessarytohearwhatyou’redoingtosetoptimallevels.Butifyou’dliketo:Plugheadphonesintothephonesoutputjack,thenturnupthe CR/phonesknobjustalittle.

1. Turnonthemixerbypressingthetopedgeofthepowerswitch.

2. Foronechannel,pressthesoloswitchin.

3. Engagethemodeswitchinthemaster section.Agreenlevelsetlightwillturnon.

4. Playsomethingintothatinputatreal-worldlevels.

5. Adjustthatchannel'sgaincontroluntiltheleftmainmeterstaysaroundthe0dBLED(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.

• Alwaysturndownthemainmixfaderandcontrolroom/phonesknobdownwhenmakingconnectionstothemixer.Betteryet,turnoffthepower.

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

• Savetheshippingbox!

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Hookup Diagrams

Recording System

Drum microphonesVocalmics

Headphone amp(Connected to thephones jack on the front of the mixer)

Stereo Compressorand Stereo EQ

Stereo Tape Deck

Vocalmics

MR8mk3studio monitors

Headphones

Stereo Guitar Effects


Synth

Stereo Compressor

Stereo Compressor

Digital Reverb

Digital Delay

Multi-trackDigital Recorder

Laptop

The rhythm and lead guitars play through stereo effects processors plugged into the line inputs of channels 1 and 2. Microphones are connected to the mic inputs of channels 3-14 with vocal compressors connected to the channel 3-4 and 13-14 insert jacks. [Drums are mic'd on channels 5-12]. A bass guitar is connected to the line input of channel 15, while a synth is connected to the line input of channel 16.

A stereo compressor and stereo graphic EQ are connected to the L/R main inserts. Digital reverb and delay processors are connected to aux sends 1 and 3, with the aux sends set to post-level. Effects are added to the main mix via the stereo return inputs, and adjusted with the stereo return level control.

There are a multitude of recording possibilities geared for both analog purists and digital hounds. There are three examples listed here, but feel free to experiment! (1) the RCA tape inputs and outputs are connected to a stereo tape deck. It's an easy way to get a stereo recording of the entire band, as well as listening to playback (over tape), (2) the eight direct outputs are connected to the eight inputs of a multi-track digital recorder, and (3) the four subgroup outs are connected to the laptop. Again, there are many choices for recording. Do what works for you and your setup!

A pair of MR8mk3 studio monitors are connected to the control room outputs to listen to playback of your latest masterpiece.

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Live Stereo PA System

Drum microphonesVocalmics

Headphones(Connected to thephones jack on the front of the mixer)

Stereo Compresorand Stereo EQ

Vocalmics



Synth

Stereo Compressor

Stereo Compressor

Digital Reverb

Digital Delay

Laptop

DLM8 Stage Monitors

DLM12S subwoofersStereo EQ

DLM8 loudspeakers

The rhythm and lead guitars play through stereo effects processors plugged into the line inputs of channels 1 and 2. Microphones are connected to the mic inputs of channels 3-14 with vocal compressors connected to the channel 3-4 and 13-14 insert jacks. [Drums are mic'd on channels 5-12]. A bass guitar is connected to the line input of channel 15, while a synth is connected to the line input of channel 16.

A stereo compressor and stereo graphic EQ are connected to the L/R main inserts. The 1/4" L/R main outs connect 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.

Aux sends 1 and 2 are connected to DLM8 powered loudspeakers, used as stage monitors to please the band. Digital reverb and delay processors are connected to aux sends 3 and 4, with the aux sends set to post-level. Effects are added to the main mix via the stereo return inputs, and adjusted with the stereo return level control.

The RCA tape inputs and outputs are connected to a laptop. It's an easy way to get a stereo recording of the live show for posterity and crank your featured playlist over the PA between bands.

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4 Converting To Rackmount ModeNotonlyisthe1604VLZ4acompact,professional-

qualitytabletopmixer...it’srack-mountable! Theuniquerotatinginputpodmakesthispossible.

Withatrustyphillipsscrewdriver,nervesofsteel,grit,determination,charminggoodlooksandafewmomentsofyourvaluabletime,itmaybeconvertedfromdesktopmode(fromthefactory)torackmountmode:

1. TurnoffthepowerandremoveALLthecordsfromthemixer—powercord,audio,lamps,everything.

2. Placethemixer,facedown,onacleansoftsurface,likeablanketorverylargedog.

3. Removethefourscrewssecuringthecablecover[a]andsettheplateaside.

4. Replacetwoofthescrews;theonesatthepodendofthemixer[b].

5. Removetwopod-mountingscrewsoneachsideofthemixer[c].

6. Gentlypullthepodawayfromtheslots,rotateit,andplaceit,tabsfirst,intotherackmounttabs[d],locatedontheundersideofthemainchassis.Becarefulnottoconstrictorpinchanyoftheribbonorpowercables.

removescrews

rackmounttab slots

removeplate

replacescrews

removescrews

flush mount

rotatepod replace

screws

use the longer screws that come in a little bag

sunkenposition

use the longer screws that come in a little bag

7. Carefullyinstallthepod-mountingscrewsintheirnewlocations[d].

8. Installtherackearsthatcamewiththemixer,usingthesuppliedpacketofscrews.Thesescrewsareabitlongerthantheonesyouhavetotakeout.Therackearsmaybeinstalledineitheroftwodepthsasshownatthebottomofthispage:[e]mixer’ssurfaceflushwiththerackrails,likeordinaryrackmountequipment,or[f]mixer’ssurfacesunkenintotherack,toprotecttheknobsfrombeingbumped.

NOTE:Ifyouremovetherackearsatalaterdate,usetheoriginal(shorter)screwstosecurethesides.

AnoptionalaccessorycalledtheRotopod-VLZis availableandmaybeusedindesktoporrackmountinstallations.Itwillputthepatchbayjacksonthe sameplaneasalltheknobs,buttonsandfaders. Thisisalifesaverinapplicationsthatdemandfrequentrepatching,andcostsaheckofalotlessthanan externalpatchbay,nottomentionalltheinterface andpatchcords.Pleasevisityourdealerformore excitingdetails.Besuretoorderthe“VLZ4”version soyoudon’tendupwiththeonefortheclassicCR-1604!

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Patchbay Description

1

Attheriskofstatingtheobvious,thisiswhereyouplugeverythingin:microphones,line-levelinstrumentsandeffects,headphones,andtheultimatedestinationforyoursound:PAsystem,DAW,etc.Afewofthe featuresdescribedinthissectionareontopofthemixer,butmostareoutbackonthis“pod.”

SeeAppendixB(page27)forfurtherdetailsandsomeratherlovelydrawingsoftheconnectorsyou canusewiththe1604VLZ4.

EZ InterfaceConcernedaboutlevels,balancing,impedances, polarity,orotherinterfacegoblins?Youcanpatch anythingalmostanywhereonthe1604VLZ4,with naryacare.Here’swhy:

• Everyinputandoutputisbalanced(exceptinsert,phonesandRCAjacks).

• Everyinputandoutputwillalsoaccept unbalancedlines(exceptXLRjackswhenphantompowerison).

• Everyinputisdesignedtoacceptvirtuallyanyoutputimpedance.

• Themainleftandrightmixoutputscandeliver28dBuintoaslowasa600ohmload.

• Alltheotheroutputscandeliver22dBuinto aslowasa600ohmload.

• Alltheoutputsareinphasewiththeinputs.

Allweaskisthatyouperformthelevelsetting procedure[page5]everytimeyoupatchinanew soundsource.Sostopworryingandstartmixing!

1. Mic InsThisisafemaleXLRconnectorthatacceptsa

balancedmicorlinelevelinputfromalmostanytype ofsource.TheseOnyxmicpreampsfeaturehigher fidelityandheadroomrivalinganystandalonemic preamponthemarkettoday.Thesecircuitsareexcellentatrejectinghumandnoise.

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

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

Noteveryinstrumentismadetoconnectdirectlyto amixer.GuitarscommonlyneedaDirectInjection(DI)boxtoconnecttothemixer'smicinputs.Theseboxesconvertunbalancedline-levelsignalsfromyourguitar,intobalancedmic-leveloutputs,andprovidesignalandimpedancematching.Theyalsoletyousendyourgiftedguitarrenditionsoverlongcablesoraudiosnakes, withminimuminterferenceorhigh-frequencysignalloss.Askyourdealerorguitarmakerabouttheir recommendationsforagoodDIbox.

Phantom PowerMostmodernprofessionalcondensermicsare

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

The1604VLZ4’sphantompowerisgloballycontrolledbythephantom[22]switchontherearpanel. (Thismeansthephantompowerforallchannels isturnedonandofftogether.)

Neverplugsingle-ended(unbalanced)microphones,orribbonmicsintothemicinputjacksifthephantompowerison.

Donotpluginstrumentoutputsintothe micinputjackswithphantompoweronunlessyouknowforcertainitissafetodoso.

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4. InsertTheseunbalanced1/4"jacksareforconnectingserial

effectsprocessorssuchascompressors,equalizers, de-essers,orfilters.Theinsertpointisafterthegain[3]control,butbeforethechannel’sEQ[32],lowcut[33],fader[25]andmute[30]controls.Insertcablesmustbewiredthusly:

Tip=send(outputtoeffectsdevice) Ring = return(inputfromeffectsdevice) Sleeve = commonground

Eventhoughchannels1–8alreadyhavedirectout[5]jacks,insertjackscanalsobeusedaschanneldirectoutputs;post-gain,pre-lowcut,andpre-EQ.Seetheconnectorsectiononpage29showingthreewaystouseinsertcables.

5. Direct OutFoundonlyonchannels1–8,thesebalanced1/4"

jacksdeliverthesignalfromtheveryendofthechannelpath;post-gain[3],post-EQ[32],post-lowcut[33],post-fader[25],andpost-mute[30].Theyarethekeyplayerin“splitmonitoring,”makingthe1604VLZ4 perfectforan8-trackstudio.

Split MonitoringWithsplitmonitoring,youusethefirsteightchannelsforyoursoundsources:vocalmics,drummics,keyboard/synthoutputs,guitar

effectsoutputs,thatsortofthing.Fromthere,thechannelsmanipulatethesound,butarenotassignedtotheoutputsection.Instead,they’repatchedfromthechannel’sdirectout[5]jackstothecorrespondingmultitrackinput(directout1tomultitrackinput1,2to2,3to3,etc.).Thesignalswillnowberecordedorpassdirectlythroughthemultitrack,dependingoneachtrack’srecord-readystatus.

tip

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

tipring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

multitrackmachine

sound sources

directoutputs

groupoutputs

1–8 9–16

2. Line InsThese1/4"jackssharecircuitry(butnotphantom

power)withthemicpreamps,andcanbedrivenby balancedorunbalancedsourcesatalmostanylevel. Youcanusetheseinputsforvirtuallyanysignalyou’llcomeacross,frominstrumentlevelsaslowas–50dBu,tooperatinglevelsof–10dBVto+4dBu,sincethere is–15to+45dBofgain(60dBrange)availablefor lineinputsviathegain[3]knob.Alwaysmakesure toperformthelevelsettingprocedureonpage5.

Toconnectbalancedlinestotheseinputs,use a1⁄4"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

3. Gain Yesit’strue,thesecontrolsarenotinthepatchbay

sectionatall.They’refoundalongthetoprowofknobsinthechannelstripsection.Buttheirpurposeissocloselylinkedwiththemicandlineinputjacksthatwecouldn’tbeartoseparatethem.Ifyouhaven’talready,pleasereadthelevel-settingprocedureonpage5.

Gainadjuststheinputsensitivityofthemicandlineinputs.Thisallowssignalsfromtheoutsideworldtobeadjustedtooptimalinternaloperatinglevels.

IfthesignaloriginatesthroughtheXLRjack,therewillbe0dBofgainwiththeknobfullydown,rampingto60dBofgainfullyup.

Throughthe1⁄4"input,thereis20dBofattenuationfullydownand40dBofgainfullyup,witha“U”(unitygain)markat10:00.This20dBofattenuationcanbe

veryhandywhenyouareinsertingaveryhotsignal,orwhenyouwanttoaddalotofEQgain,orboth.Withoutthis“virtualpad,”thisscenariomightleadtochannelclipping.

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4. InsertTheseunbalanced1/4"jacksareforconnectingserial

effectsprocessorssuchascompressors,equalizers, de-essers,orfilters.Theinsertpointisafterthegain[3]control,butbeforethechannel’sEQ[32],lowcut[33],fader[25]andmute[30]controls.Insertcablesmustbewiredthusly:

Tip=send(outputtoeffectsdevice) Ring = return(inputfromeffectsdevice) Sleeve = commonground

Eventhoughchannels1–8alreadyhavedirectout[5]jacks,insertjackscanalsobeusedaschanneldirectoutputs;post-gain,pre-lowcut,andpre-EQ.Seetheconnectorsectiononpage29showingthreewaystouseinsertcables.

5. Direct OutFoundonlyonchannels1–8,thesebalanced1/4"

jacksdeliverthesignalfromtheveryendofthechannelpath;post-gain[3],post-EQ[32],post-lowcut[33],post-fader[25],andpost-mute[30].Theyarethekeyplayerin“splitmonitoring,”makingthe1604VLZ4 perfectforan8-trackstudio.

Split MonitoringWithsplitmonitoring,youusethefirsteightchannelsforyoursoundsources:vocalmics,drummics,keyboard/synthoutputs,guitar

effectsoutputs,thatsortofthing.Fromthere,thechannelsmanipulatethesound,butarenotassignedtotheoutputsection.Instead,they’repatchedfromthechannel’sdirectout[5]jackstothecorrespondingmultitrackinput(directout1tomultitrackinput1,2to2,3to3,etc.).Thesignalswillnowberecordedorpassdirectlythroughthemultitrack,dependingoneachtrack’srecord-readystatus.

tip


tipring

sleeve

SEND to processor


(TRS plug)

multitrackmachine

sound sources

directoutputs

groupoutputs

1–8 9–16

Theoutputsofthemultitrackarethenpatched tothenexteightline[2]inputsonthe1604VLZ4 (multitrackout1tolineinput9,2to10,3to11,etc.).Thesechannels(9–16)willbeassignedtothemixer’soutputsection,deliveringthesignalstotheirultimatedestination,whichmaybeyourmixdown2-track,yourcontrolroomsystem,oryourheadphones.

Butlet’snotforgetthatthe1604VLZ4isa4-bus mixer.Thesebusesleadtothesubouts[8],andaredesignedtoaccomplishthetaskofgettingchannels tothemultitrackwithoutusingthedirectoutputs.

Forexample,achannelisassignedtosubout1. Subout1’soutputispatchedtomultitrackinput1.Fromthere,themultitrackoutputgoestothemixer’schannel9lineinput,aswejustdiscussed.(Hottip:Tofeedan8-trackdeckwith4suboutputs,simplyuseY-cords:subout1feedstracks1and5,2feeds2and6,3feeds3and7,and4feeds4and8.Tracksinrecordmodewillacceptthesignal,andtracksinsafemode willignorethesignal.)

Theadvantages:Youcanassignanychanneltoanytrack,withoutrepatching.Youcanassignmultiplechan-nelstoonetrackandcontroltheoveralllevelofthatsubgroup.Youcan’tbouncetrackswithoutthisfeature.

Perhapsthebestmethodistodoboth:Usethesuboutstofeedmultichannelsubmixes(likeadrumkit)tosomeofthetracks,andthedirectoutjackstofeedsingle-channelsignals(likebassguitar)totheothertracks.

Thepointisthatyouneverlistendirectlytothesourcechannels(1–8).Youlistentothemonitorchan-nels(9–16)andthey’relisteningtothemultitrackthatislisteningtothesourcechannels.(Makesuretoassignthemonitorchannels9-16totheL/Rmix,andnotthesourcechannels1-8.)Themainadvantageisthatyouwon’tbeforcedtoconstantlyrepatchyourmultitrack—justsetitupandforgetit.You’llalsoknowforcertainthatthesignalsareindeedgettingtothemultitrack,sinceyou’reconstantlylisteningtoit.

Anothermethodofinterfacingamultitrackiscalledinlinemonitoring,andrequiresadedicatedmixingconsole.Eachofitschannelsisactuallytwochannels:onecarryingthemic/linesoundsourceandtheothercarryingthemultitrackoutput.

6. Aux SendsThese1/4"jacksusuallypatchtotheinputsof

aparalleleffectsdevicesortotheinputsofstage monitoramps.Fordetailssee“AuxTalk”onpage23.

Effects: Serial Or Parallel?You’vehearduscarelesslytossaroundtheterms

“serial”and“parallel.”Here’swhatwemeanbythem:

“Serial”meansthattheentiresignalleavesthemixer[insert(4)send],isroutedthroughtheeffectsdevice,andreturnstothemixer[insertreturn].Examples:compressor/limiters,graphicequalizers.

“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)


InsertSend

InsertReturn


AuxSend

AuxReturn

Wet Signal

Channel PathMix

Stage

OutputSection

ProcessedSignal




InsertSend

InsertReturn


AuxSend

AuxReturn

Wet Signal

Channel PathMix

Stage

OutputSection

ProcessedSignal



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9. C-R Outs (Control Room Outputs)These1/4"jacksareusuallypatchedtotheinputsof

acontrolroomamplifieroraheadphonedistributionamplifier.Tolearnhowsignalsareroutedtothese outputs,seectlroom/phones[43]onpage20.

10. Phones Out (On Front Panel)The1604VLZ4’sstereo1/4"phones

jackwilldriveanystandard headphonetoveryloudlevels. Tolearnhowsignalsareroutedtotheseoutputs,seectlroom/phones[43]onpage20.Ifyou’rewiringyourowncableforthephonesoutput:

Tip=leftchannel Ring = right channel Sleeve = commonground

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

levelsmaybepainfullyloudwithsomeearphones. BE CAREFUL!Alwaysturnthectlroom/phones[43]knoballthewaydownbeforeconnectingheadphones.Keepitdownuntilyou’veputthephoneson.Thenturnitupslowly.Why?“Engineerswhofrytheirearsfindthemselveswithshortcareers.”

11. Tape OutTheseunbalancedRCAjackstapthemainmix

outputstomakesimultaneousrecordingandPAworkmoreconvenient.Connectthesetoyour2-track recorder’sinputs.Tolearnhowsignalsarerouted totheseoutputs,seemainmix[37]faderdetails onpage19.

Mono:Ifyouwanttofeedamonosignaltoyourtapedeckorotherdevice,simplyusethe1/4"mono[15]outputjack.

12. Tape InTheseunbalancedRCAjacksaredesignedtowork

withsemiproaswellasprorecorders.Connectyour2-tracktaperecorder’soutputshere,usingstandardhi-fiRCAcables.Tolearnhowsignalsareroutedfromtheseinputs,seetapein(level)[40]onpage20.

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7. Stereo ReturnsThisiswheretoconnecttheoutputsofparallel

effectsdevices(orextraaudiosources).They’llacceptjustaboutanyproorsemiproeffectsdeviceonthe market.Tolearnhowsignalsareroutedfromtheseinputs,seestereoreturnlevel[51]onpage23.

Mono:Ifyouhaveaneffectsdevicewithamono output(onecord),plugthatintotheleftinputof astereoreturnandleavetherightinputunplugged.Thatway,thesignalwillbesenttobothsides, magicallyappearinginthecenterasamonosignal.

8. Sub Outs Thesefour1/4"jacksareusuallypatchedto

theinputsofamultitrackdeck,ortosecondary amplifiersinacomplexinstallation.Tolearnhow signalsareroutedtotheseoutputs,seesubgroup faders[38],page19.

Double BusingHowonearthdoyougetfourjackstofeedeight

tracks?Tofeedan8-trackdeckwithonlyfoursubouts,simplyusefourY-cords:

• SubOut1feedstracks1and5




Tracksinrecordmodewillacceptthesignal,andtracksinsafemodewillignorethesignal.It’sthateasy.

Thismethodisexactlythesameasthedouble-busingfeaturefoundinothermixers.Built-indouble-busingisnothingmorethan

Y-cordslivinginsidethemixerinsteadofhangingouttheback.Ifwehadroomfortheextrajacks,wewouldhavethrownthemin,butwedon’t,sowedidn’t. Sonically,thereisnodifference.

Y-cordadvice:Donotusethestereo“headphone-to-left/right”splitteradapters.Usethetypethatsendthesamesignaltotwoplaces;thetipofthesourceplugfeedsthetipsofbothdestinationplugs.

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Usethesejacksforconvenientplaybackofmixes.You’llbeabletoreviewamix,andthenrewindandtryanotherpasswithoutrepatchingordisturbingthemixerlevels.YoucanalsousethesejackswithaCDplayer tofeedmusictoaPAsystembetweensets.

WARNING:Pushingtapetomainmix[41] intheoutputsectioncancreateafeedbackpathbetweentapeinputandtapeoutput.

Makesureyourtapedeckisnotinrecord,record-pauseorinputmonitormodewhenyouengagethisswitch, ormakesurethetapeinlevelknobisfullycounter-clockwise(off).

13. Main InsertThese1/4"jacksareforconnectingserialeffectssuch

ascompressors,equalizers,de-essers,orfilters.Theinsertpointisafterthemixamps,butbeforethemainmix[37]fader.Insertcablesmustbewiredthusly: Tip=send(outputtoeffectsdevice) Ring = return(inputfromeffectsdevice) Sleeve = commonground

14. Main Outs These1/4"jacksareusuallypatchedtotheinputs

ofyour2-trackmixdowndeck(unlessyou’vechosen tousethetapeoutput[11]RCAjacks),ortothehouseamplifierduringlivesoundsessions.Tolearnhowsignalsareroutedtotheseoutputsseemainmix[37]faderdetailsonpage19.Tousetheseoutputstodrivebalancedinputs,connect1/4"TRS(Tip-Ring-Sleeve)phoneplugslikethis: Tip=Positive(+orhot) Ring=Negative(–orcold) Sleeve=Shieldorground

Tousetheseoutputstodriveunbalancedinputs, connect1/4"TS(Tip-Sleeve)phoneplugslikethis: Tip=Positive(+orhot) Sleeve=Shieldorground

15. Mono OutIthappenstoeverybodysoonerorlater:Theforces

thatgovernyourworldwilldemandamonaural outputfromyourpainstakingly-createdstereo panorama.Thelastthingyouwanttodoisstart twirlingallyourcarefully-placedpansettingstooneside.Whattodo?Stickacordinthis1/4"jack,hand theotherendtoMr.Mono,andyou’redone.He’sgot hismonomixandyou’vestillgotyourstereomix. Themonooutputisnothingmorethanamixof theleftandrightmainmix.

16. Mono LevelSo,Mr.Monocomesrunningback,screamingabout

themonomixbeingsoloudthathiscamcorderis melting.Justreachforthisknobandturnitdown abit.Justthethingforsendingmonosignalstomicinputslikecamcorders,telephoneinterfaceboxes,evenansweringmachines.Withthepotallthewayup(fullyclockwise),you’llhave6dBofextragain,withunitygainhalfwaybetweentheoneandtwoo’clockpositions.

17. Voltage SelectorLocatedonthebottompanel,isavoltageselector

switch.

WARNING: Beforeyouplugthe ACpowercordintothe1604VLZ4, youmustmakesurethatthisslide

switchissettothesamevoltageasthelocal ACmainssupply.Onlyslidethevoltageswitchwiththepowercordunplugged.

Useaflatheadedscrewdrivertoslidetheswitch ifneeded.Theswitchallowsyoutousethemixerin differentcountriesandvoltages,meetinterestingpeoplefromothercultures,andentertainthem.

18. Power ConnectionJustincaseyoulosethecordprovidedwiththe

1604VLZ4,itspowerjackacceptsastandard3-prongIECcordlikethosefoundonmostprofessional recorders,musicalinstruments,andcomputers.

WARNING:BeforeyouplugtheACpowercordintothe1604VLZ4,youmustmakesurethatthevoltageselector[17]slideswitchis

settothesamevoltageasthelocalACmainssupply.

WARNING:Disconnectingtheplug’sgroundpincanbedangerous.Don’tdoit.

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20 22

22. Phantom SwitchThisswitchcontrolsthephantompowersupply

forallthemic[1]inputs,asdiscussedonpage9. Whenturnedon(oroff),thephantompowercircuitrytakesafewmomentsforvoltagetorampup(ordown).Thisisperfectlynormal.Makesurethatyoupulldownthemasterfader,andheadphone/controlroomvolumebeforeengagingthephantomswitch.

23. 48V LEDLocatedrightnexttothepowerLED,thisisjusttolet

youknowwhichwayyouhavethephantom[22]switchset.Ifyourdynamicmicsworkandyourcondensersdon’t,chancesarethisLEDisoff,soturniton.

You’llnoticethatwhenyouturnthephantompoweroff,theLEDstaysonforawhile.Thisisanaturalphe-nomenon—theLEDisactuallyavoltmetertellingyouthatthephantompowertakestimetorampitselfdowntozerovolts.So,ifyou’veturnedphantompowerofftoconnectsomethingtothemicinputs,waituntiltheLEDstopsglowingandthenmakeyourconnectionssafely.

24. BNC Lamp SocketLocatedinthetoprightcorneroftheoutput

section,this12Vsocketwilldriveanystandard BNC-typelamp(aLittlite®#12Gor#12G-HI (high-intensity),forinstance).

19. FuseThe1604VLZ4isfusedforyour(anditsown)

protection.Ifyoususpectablownfuse,disconnect thepowercord,popoutthefusedrawerwithasmall flatscrewdriver,andreplacethefusewitha1ASLOBLO,5x20mm,availableatelectronicsstoresor yourdealer(ora500mASLOBLO5x20mmif your1604VLZ4issetto220V-240V).

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

20. Power SwitchPressthetopofthisrockerswitchinwardstoturn

onthemixer.Thepowerled[21]onthetopsurface ofthemixerwillglowwithhappiness,oratleastit willifyouhavethemixerpluggedintoasuitable liveACmainssupply.

Pressthebottomofthisswitchtoputthemixerintostandbymode.Itwillnotfunction,butthecircuitsarestilllive.ToremoveACpower,eitherturnofftheACmainssupply,orunplugthepowercordfromthemixerandtheACmainssupply.

Asageneralguide,youshouldturnthemixeron first,beforethepoweramplifierorpoweredspeakers,andturnitofflast.Thiswillreducethepossibilities ofanyturn-on,orturn-offthumpsinthespeakers.

21. Power LEDYou’veprobablyalreadyfiguredthisout,butifthe

power[20]switchison,thisLED(light-emittingdiode),locatedintheoutputsection,willlight.Iftheswitchisoff,well,yougettheidea.IfthepowerswitchisonandtheLEDdoesnotglow,oneofthreethingshashappened:Somebodytrippedoverthepowercordandyankeditfromtheoutlet,yourelectricityhasbeenturnedoffduetononpayment,orthefusehasblown.

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Channel Strip Description

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26

The16channelstripslookalikeandfunctionidentically.Soifyoulearnone,youhavelearnedthemall.Theonly differenceisthattheeightonthelefthavedirectout[5]jacksandtheeight ontherightdon’t.We’llstartatthe bottomandworkourwayup.

“U” Like Unity GainVLZ4mixershavea“U”symbolon

almosteverylevelcontrol.This“U”standsfor“unitygain,”meaningnochangeinsignallevel.Onceyouhaveperformedthelevel-settingprocedure,youcanseteverycontrolat“U”andyoursignalswilltravelthroughthemixeratoptimallevels.What’smore,allthelabelsonourcontrolsaremeasuredindecibels(dB),soyou’llknowwhatyou’redoinglevel-wiseifyouchoosetochangeacontrol’ssettings.

25. Channel FaderThefaderisalmostthelastcontrol

inachannel’ssignalpath.It’splaced aftertheEQ[32]andmute[30] controls(post-EQ/post-mute)and beforethepan[31]control(pre-pan).The“U”mark,aboutthree-quartersof thewayup,indicatesunitygain,meaning noincreaseordecreaseofsignallevel. Allthewayupprovidesanadditional 10dB,shouldyouneedtoboostasectionofasong.Ifyoufindthattheoveralllevelistooquietortooloudwithafadernearunity,you’llwanttoconfirmthesettingbyperformingthelevel-settingprocedureonpage5.

A Clean FadeFadersarenotrocketscience—they

operatebydraggingametalpin(thewiper)acrossacarbon-basedstrip(thetrack).Itispossibleforairbornecrudto

landonthetrack.Shouldthathappen,youmayhearscratchynoisesorsignaldropoutsasthewiperstumblesoverthecrud.Doallyoucantokeepairbornecrudoutofyourprofession.Useair-conditionedroomswheneverpossible,avoidsmokingnearthemixer,keepfoodanddrinkawayfromthemixer,andforpity’ssake,never putthemixerinyourkitchen!Wealsorecommend“exercising”thefaders—givethemafewfull-travelexcursionsonceaweekorso,andthatwillhelpscarethecrudaway.Donotusespraycleaners,ratherusecompressedair,oravacuumwithbrushattachment.

26. Assign (1–2, 3–4, L–R)Alongsideeachchannelfaderarefourbuttons,

labeledsolo,1–2,3–4andL–R.Thelatterthreearecollectivelyreferredtoaschannelassignmentswitches.1,3andLaretheleftsidesofthesestereopairs,and2,4andRaretherightsides.Usedinconjunctionwiththechannel’span[31]knob,theseswitchesdeterminethedestinationofachannel’ssignal:Withpansetatthecenterdetent,theleftandrightsidesreceiveequalsignallevels.Tofeedonlyonesideortheother,justturnthepanknobaccordingly.

Ifyou’redoingamixdowntoa2-track,simplyengagetheL–Rswitchoneachchannelthatyouwanttohear,andthey’llbesenttothemainmix.Ifyouwanttocreateasubgroupofcertainchannels,engageeitherthe1–2or3–4switchesinsteadoftheL–R,andthey’llbesenttotheappropriatesubgroupfaders.Fromthere,thesubgroupscanbesentbacktothemainmix,allowingyoutousethesubgroupfadersasamastercontrolforthose channels.

Ifyou’reprintingnewtracksorbouncingexistingones,you’llalsousethe1–2and3–4switches,but nottheL–Rswitch.Here,youdon’twantthesubgroupssentbackintothemainmix,butsentout,viathe subouts[8]jacks,toyourmultitrackinputs. However,ifyou’reprintingtracksviathedirect out[5]jacks,allthechannelassignmentswitchesshouldbedisengaged(up).

The1604VLZ4iswhatwecalla“true4-busmixer.”Eachchannelmaybeassignedorunassignedtoanyofthesubgroupswithoutaffectingtheothersubgroups orsettingswithinthechannel,andeachsubgrouphasitsownmasterfaderanddedicatedoutput.Infact,sincethereare4subgroupsandthemainL/Rmix, it’sactuallyatrue6-busmixer.Wecouldhavenamed itthe1606VLZ4.Darn!

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4 27. SoloThislovableswitchallowsyoutochecksignalsin

thephonesorcontrolroomwithouthavingtoassignthemtotheL-R,1-2or3-4mixes.Youcansoloas manychannelsasyoulike.Solodoesnotinterrupt anyoftheotherchannels,busesoroutputs—that’scallednondestructivesolo.

Usingthemode[44]switch,the1604VLZ4’ssolosystemcomesintwoflavors:normal(AFL)(sometimescalledSIP,orsolo-in-place)andlevelset(PFL)(sometimescalledPFL, orpre-fader-listen).Themodeswitchisdescribed intenderlovingdetailonpage21.

Levelset(PFL)tapsthechannelsignalbeforethefader.Ifyouhaveachannel’sfadersetwaybelow“U”(unitygain),solowon’tknowthat

andwillsendaunitygainsignaltothecontrolroom,headphones,andmeterdisplay.Thatmayresultin astartlinglevelboostattheseoutputs,depending onthepositionofthesolo[46]levelknob.

Inanutshell,soloedchannelsaresenttothesource[42]mix,thatultimatelyfeedsyourcontrolroom, headphonesandmeterdisplay.Wheneversolois engaged,allsourceselections(mainmix,1–2,3–4, andtape)aredefeated,toallowthesoloedchannel todojustthat—solo!

28. –20 (Solo) LEDAnLEDthatdoestwocompletely

differentthings!Savesspace,recycles theplanet,butrequiressome explanation.First,the“–20”part: Oftenreferredtoas“signalactivity,” thisLEDwillflickerintimewiththesignalpresentinthatchannel.It’shandyforconfirmingthatachannelisindeedactive,andmayalsolendaclueastowhatthesignalis.Forinstance,akickdrumwillcausetheLEDtopulseintimewiththedrum,andasynthpadwillcauseittoglowabitmoresteadily.

Nowforthe“solo”part.Whena channel’ssoloswitchisengaged,this LEDwillglowsteadily,withoutflickering.Itwillalsobebrighterthanitwouldbe asa–20indicator.Inconjunctionwiththerudesololight[47],youcanfind aroguesoloswitchquickly.

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29. OL (Mute) LEDAnotherLEDthatdoestwocompletelydifferent

things!First,the“OL”part:“OL”meansoverload,orclip.Youdon’twantthattohappen.Ever.Clippingcanhappentoanymixer—it’sthepointwherethesignal’svoltagetriestoexceedthesupplyvoltagesthatpowerthecircuitry.The1604VLZ4’sOLLEDwillcomeonjustbeforeclipping,soifyouseeit,takeimmediateaction:Performthelevel-settingprocedureonpage5.Ifthatdoesn’thelp,checkforexcessiveuseofEQboostorfadergain.Likethe–20LED,itwilltendtoflickerintimewiththatchannel’ssignal.

Nowforthe“mute”part.Assumingyourlevelsaresetcorrectly,theOLLEDwillnevercomeonasaresultofclipping.That’sprettyboring.So,toliventhingsup,thisLEDwillglowsteadilywhenthatchannel’smute[30]switchisengaged.

HereisaquickreferencetotheseLEDs:

30. MuteEngagingthisswitchprovidesthesameresults

asturningthechannel'sfaderallthewaydown: AnychannelassignmenttoL-R,1-2or3-4willbe interrupted.Allthepostauxsendswillbesilenced, aswillthedirectoutsignalsonchannels1through8,andtheOL(mute)LEDwillglow.Thepreauxsends,channelinsertsend,andsolo(inlevelset(PFL)mode)willcontinuetofunctionduringmute.

Dependingontheaudiocontentinachannel, engagingitsmuteswitchmaycauseaslightpoppingsound.Thisisnotaproblemwithinthemixer,andit canbeavoided:Simplyengagethelowcut[33]switchoneachchannel(unlessitslowfrequencycontentisvitallyimportant,suchasakickdrumorbassguitar).Lowcuteliminatessubsonicdebris,whichcausesthepop,anditseffectisusuallytransparent.

Name Color Flickering Glowing

–20(SOLO) green signalpresent channel soloed

OL(MUTE) red channelclipping channelmuted

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ThelowEQprovidesupto15dBboostorcutbelow80Hz.Thecircuitisflat(noboostorcut)atthecenterdetentposi-tion.Thisfrequencyrepresentsthepunchinbassdrums,bassguitar,fatsynthpatches,andsomereallyseriousmalesingerswhoeatbrokenglassforbreakfast.

Usedinconjunctionwiththelowcut[33]switch, youcanboostthelowEQwithoutinjectingatonof subsonicdebrisintothemix.Werecommendusing thelowcutfeatureonallchannels,exceptlow frequencysignals,likekickdrumsandbassguitars.

ThemidEQ,or“midrange,”hasafixedbandwidthof1octave.Themidknobsetstheamountofboostorcut,upto15dB,andiseffectivelybypassedatthecenterdetent.Thefrequencyknobsetsthecenterfrequency,sweepablefrom100Hzto8kHz.

Mostoftherootandlowerharmonicsthatdefineasoundarelocatedinthe100Hz–8kHzfrequencyrange,andyoucancreatedrasticchangeswiththesetwoknobs.ManyengineersusemidEQtocutmidrangefrequencies,notboostthem.Onepopulartrickistosetthemidfullyup,turnthefrequencyknobuntilyoufindapointwhereitsoundsjustterrible,thenbackthemiddownintothecutrange,causingthoseterriblefrequen-ciestodisappear.Soundssilly,butitworks.Sometimes.

ThehiEQprovidesyouup to15dBboostorcutabove 12kHz,anditisalsoflatatthedetent.Useittoaddsizzletocymbals,anoverallsenseoftransparency,oranedgeto keyboards,vocals,guitarandbaconfrying.Turnitdownalittletoreducesibilance ortomasktapehiss.

WithtoomuchEQ,youcanscrewthingsuproyally.We’vedesignedalotofboostandcutintoeachequalizercircuitbecauseweloveyou,andknowthateveryonewilloccasionallyneedthat.ButifyoumaxtheEQoneverychannel,you’llgetmixmush.Equalizesubtlyandusetheleftsidesoftheknobs(cut),aswellastheright(boost).Ifyoufindyourselfrepeatedlyusingfullboostorcut,consideralteringthesoundsource,such asplacingamicdifferently,tryingadifferentkindofmic,changingthestrings,orgargling.

20Hz 100Hz 1kHz 10kHz 20kHz–15

–10

–5

0

+5

+10

+15


–10

–5

0

+5

+10

+15


–10

–5

0

+5

+10

+15

31. PanThisadjuststheamountofchannelsignalsentto

theleftversustherightoutputs.PandeterminesthefateoftheL-Rassignment,subgroups1–2and3–4,andthesolo(inAFLmode).Withthepanknobhardleft,thesignalwillfeedtheleftmainmix,subgroup1,subgroup3andleftnormal(AFL)solomode(assumingtheirassignmentswitchesareengaged).Withtheknobhardright,signalfeedstherightmainmix,subgroup2,subgroup4andrightnormal(AFL)solomode.Withpansetsomewherein-betweenleftandright,thesignalwillbedividedbetweentheleftandrightbuses.

Stereo SourcesYourlifewillbeeasierifyoufollowthisstandard

convention:Whenpatchingstereosoundsources toamixer,alwaysplugtheleftsignalintoan“odd” channel(1,3,5,etc.)andtherightsignalintothe adjacent“even”channel(2,4,6,etc.).Thenpanthe oddchannelhardleftandtheevenchannelhardright.

Constant Loudness ! ! !The1604VLZ4’spancontrolsemployadesigncalled“ConstantLoudness.”Ithasnothingtodowithlivingnexttoafreeway.Asyouturn

thepanknobfromlefttoright(therebycausingthesoundtomovefromthelefttothecentertotheright),thesoundwillappeartoremainatthesamevolume (orloudness).

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

32. 3-Band Mid-Sweep EQThe1604VLZ4hasa3-band,mid-sweepequalization:

lowshelvingat80Hz,midsweeppeakingfrom100Hz to8kHz,andhishelvingat12kHz.It’sprobablyall theEQyou’lleverneed!(Shelvingmeansthatthecircuitryboostsorcutsallfrequenciespastthe specifiedfrequency.Forexample,the1604VLZ4’s lowEQboostsbassfrequenciesbelow80Hzandcontinuingdowntothelowestnoteyouneverheard.Peakingmeansthatcertainfrequenciesforma“hill”aroundthecenterfrequency.)


–10

–5

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4 33. Low Cut Thisswitch,oftenreferredtoasahighpassfilter(all

dependsonhowyoulookatit),cutsbassfrequenciesbelow75Hzatarateof18dBperoctave.Thisain’tnothrown-indime-storefilter—an18dBperoctavecurverequiresanelaboratecircuit.Nothingbutthebest.

Werecommendthatyouusethisoneverysoundsourceexceptkickdrum,bassguitar,orbassysynthpatches.Theseaside,thereisn’tmuchdowntherethatyouwanttohear,andfilteringitoutmakesthelowstuffyoudowantmuchmorecrispandtasty.Notonlythat,butlowcutcanhelpreducethepossibilityoffeedbackinlivesituations,andithelpstoconserveamplifierpower.

Withlowcut,youcansafelyboostlowEQ.Manytimes,bassshelvingEQcanreallybenefitvoices.Troubleis,addinglowEQalsobooststhesubsonic debris:Stagerumble,michandlingclunks,windnoiseandbreathpops.LowcutremovesallthatdebrissoyoucanboostthelowEQwithoutblowingyoursubwoofers.

Here’safrequencycurveoflowEQcombinedwith lowcut:

34. Aux 1, 2, 3, & 4Thesefourknobstapaportionofeach

channel’ssignal,mixthemtogetherandsendthemtotheauxsend[6]outputs.Theyareoffwhenturnedfullydown,deliverunitygainatthecenterdetent,andcanprovideupto15dBofgainturnedfullyup.Chancesareyou’llneverneed thisextragain,butit’snicetoknowit’sthereifyoudo.

Theauxsendoutputsarethenpatchedtoparalleleffectsprocessorinputsorstagemonitorampinputs.Auxsends1and2 levelsarecontrollednotonlybythe channel’sauxknobs,butalsobythe auxsend[49]masterknobs.

Auxsendscanalsobeusedto generateseparatemixesforrecording or“mix-minuses”forbroadcast.Byusingaux1or2inthepre[35]mode,these mixlevelscanbeobtainedindependentlyofachannel’sfader[25]settings.


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Werecommendgoingintoastereoreverbinmonoandreturninginstereo.Wehavefoundthatonmost“stereo”reverbs,thesecond

inputjusttiesupanextraauxsendandaddsnothingtothesound.Thereareexceptions,sofeelfreetotryitbothways.Shouldyouchoosetousetwoauxsends, usethe“odd”aux(1,3or5)tofeeditsleftinputandthe“even”aux(2,4or6)tofeedtherightinput.Remember,ifyou’realsodealingwithastereosourcesignal,you’llwanttofollowthesides—usetheoddauxonthechannelcarryingtheleftsideandtheevenauxonthechannelcarryingtheright.

35. PreThisswitchdeterminesthetappointofaux1and2.

Generally,“post”sendsareusedtofeedeffectsdevices,and“pre”sendsareusedtofeedyourstagemonitors.Seethe“Prevs.Post”diagrambelow.Aux3through6arealwaysinpostmode.

Inpostmode(switchup),aux1and2willfollow theEQ[32],lowcut[33],fader[25],andmute[30]settings.Ifyoufadethechannel,youfadethesend. Thisisamustforeffectssends,sinceyouwant thelevelsofyour“wet”signalstofollowthelevel ofthe“dry.”

Inpremode(switchdown),aux1and2followthegainandlowcutsettingsonly.EQ,pan,fader,andmutesettingshavenoeffectonthepresends.Thisisthepreferredmethodforsettingupstagemonitorfeeds—they’llbecontrolledindependentlyofthefaderandmutemoves.

36. 5/6 ShiftDon’tletthefactthatthere’sonlyfourauxknobs

perchannelfoolyou—the1604VLZ4hassixaux sends[6].Withthis5/6shiftswitchup,theknobs labeledaux3andaux4delivertheirsignalstoaux send3and4outputs.Withthisswitchdown,the signalsappearattheauxsend5and6outputs.

Werecommendthatauxsend3and4bepatchedintoyour“utility”effects,likeashortreverbandslapdelay;effectsyouuseallthetime.Useauxsend5and6for“exotic”effects,likeharmonizersandmulti-tapdelays;theyarenotlikelytobeusedasoften.

INPUT TRIM INSERTLOWCUT EQ

PAN ASSIGNMUTE

FADER

'POST' SIGNAL'PRE' SIGNAL

PRE SWITCH

AUX 1

AUX 2

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Output Section DescriptionYou’vejustlearnedabouttheinputchannelsandhow

thesignalsgetinandout.Thesignalscomeinviamic[1]andline[2]inputjacks,aremanipulatedbythechannels,andthensenttotheoutput(master)section.Thingsgetalittlemorecomplicated,soputonyourthinkingcaps,takeadeepcleansingbreath,takethismanual,getonabycycle,ridedowntothecanal,ponderyourlifeandallitsuniqueexperiences,thenreadthissection.

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37. Main Mix FaderThisfadercontrolsthelevelsofsignalssenttothe

mainout[14]jacksandtapeoutput[11]RCAjacks.Allchannelsandstereoreturnsthatareassignedtothemainmix,notmutedandnotturnedfullydownwill appearatthemainouts.Beforethemainmixgetstothisfader,thesignalspassthroughthemaininsert[13].

Themainmixsignalsareoffwiththefaderfullydown,the“U”markingisunitygain,andfullyupprovides 10dBadditionalgain.Thisadditionalgainwilltypicallyneverbeneeded,butonceagain,it’snicetoknow it’sthere.Thefaderitselfisastereoversionofthe channelandsubgroupfaders—samesupersmooth customtaper,samedeadsilencewhenturnedfullydown.Thisisthefadertopulldownattheendofthesongwhenyouwant“TheGreatFade-Out.”

38. Subgroup FadersAsyoumightexpect,thesefaderscontrolthelevels

ofsignalssenttothesubouts[8].Allchannelsthatareassignedtosubgroupswiththeassign[26]switches,notmutedandnotturnedfullydownwillappearatthesubouts.Unlikethemainout[14],thesubgroupsignalsdonotpassthroughaninsertjackontheirwaytothesubgroupfaders.That’snoproblem—shouldyouwanttosendthesesignalsthroughaserialeffectsprocessor,simplypatchfromthesuboutstotheeffect’sinput, andfromtheeffect’soutputtowhateverthefinal destinationis,usuallyamultitrackrecorder.

Thesubgroupsignalisoffwhenitsfaderisfullydown,the“U”markingisunitygain,andfullyupprovides 10dBadditionalgain.Rememberthatifyou’re treatingtwosubgroupsasastereopair,subgroup 1and2forexample,makesurethatbothsubgroup faders“ride”together,tomaintaintheleft/rightbalance.

39. Assign To Main MixOnepopularuseofthesubgroupsistousethem

asmasterfadersforagroupofchannelsontheirway tothemainmix.Let’ssayyou’vegotadrumkithogging upsevenchannelsandyou’regoingtowanttofadethemoutatadifferentratethantheotherchannels.Youdon’twanttotrythatwithsevenhandsorsevenfingers, sojustun-assignthesechannelsfromL–R,reassignthemtosubgroup1–2,engagetheassigntomainmix,leftonsubgroup1andtheassigntomainmix,right onsubgroup2.Nowyoucanridetheentirestereodrummixwithtwofaders—1and2.

Ifyouengagejustoneassigntomainmixswitchpersubgroup(leftorright),thesignalsenttothemainmixwillbethesamelevelasthesubouts[8].Ifyouwantthesubgrouptoappearinthecenterofthemain

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4 mix,engageboththeassigntomainmix,leftandrightswitches.Thesignalwillbesenttobothsides,and willbeattenuatedjustenoughtopreserveconstantloudness,justlikethechannelpan[31]knobswhen set in the center.

40. Tape In (Level)Thisknobcontrolsthelevelofthestereosignalcom-

ingfromthetapeinput[12]RCAjacks.Itsrangeisoffwhenfullydown,unityatthecenterdetent,with20dBadditionalgainturnedfullyup,whichmaycomeinhandyifyou’vepatchedinadevicewithwimpyoutputlevels.Afterthelevelisdetermined,thestereotapesignalcanbesenttoeitheroftwoplaces—themainmixorthesource[42]matrix.

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41. Tape To LREngagingthisswitchisjustlikeengagingtheL-R

switchonachannel—thesignal,stereointhiscase,issenttothemainmix.Itdoesnotinterruptothersignals,justaddsitselftothem.Thisswitchcanbeveryhandyinalivesoundsituationwhenyouwanttoplaysoothingelevatormusictoananxiouscrowd.

WARNING:Engagingtapetomainmixcancreateafeedbackpathbetweentapeinput[12]andtapeoutput[11].Makesureyour

tapedeckisnotinrecord,record-pauseorinput monitormodewhenyouengagethisswitch,orthat thetapein[40]levelknobisturnedfullydown.

42. Source Typically,theengineersendsthemainmixtoan

audienceortoamixdowndeck(ifrecording).Butwhatiftheengineerneedstohearsomethingotherthanthemainmix?Withthe1604VLZ4,theengineerhasseveralchoicesofwhattolistento.Thisisoneofthosetrickyparts—haveadoubleespressofirst.

Usingtheseswitches,youcanchoosetolistentoanycombinationofmainmix,subs1-2,subs3-4andtape.Selectionsmadeheredeliverstereosignalstothe controlroom,headphones,andmeterdisplay.Thesesignalsaretappedoffasfollows—post-mainmixfader,postsubgroupfaders[38],andpost-tapein[40]knob.Withnoswitchesengaged,therewillbenosignal attheseoutputsandnometerindication,withtwoexceptions:soloandstereoreturn4.

Regardlessofthesourcematrixselection,engagingasoloswitchwillreplacethatselectionwiththesolosignal,alsosenttothecontrolroom,headphones,andmeterdisplay.Thisiswhatmakesthelevel-settingproceduresoeasy.

Nowyouknowhowtoselectthesignalsyouwant tosendtotheengineer’scontrolroomand/orphones.Onceselected,thesesignalsallpassthroughthesamelevelcontrol,aptlynamed:

43. CR/PhonesAsyoumightexpect,thisknobcontrolsthelevels

ofboththestereocontrolroom,andtheheadphones.Makesurethatyoumoveittominimumbeforeselectingoraddinganewsource.

Whateveryourselection,youcanalsouse thecontrolroomoutputsforotherapplications. Thesoundqualityisjustasimpeccableasthemain outputs.Itcanbeusedasanadditionalmainmix outputandthisonewillhaveitsownlevelcontrol. However,shouldyoudothis,beawarethatifyou engageasolo[27]switch,thatwillinterruptthemix:

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Engagingasoloswitchwillcausethisdramaticturnofevents:Anyexistingsourcematrixselectionswillbereplacedbythesolosignals,appearinginthecontrolroom,headphonesandmeterdisplay.Theaudiblesololevelsarecontrolledbythesolo[46]levelknob. Thesololevelsappearingonthemeterdisplay arenotcontrolledbyanything—youwouldn’twantthat.Youwanttoseetheactualchannellevelon thedisplay,regardlessofhowloudyou’relistening.

44. Mode (AFL/PFL)The1604VLZ4’ssolosystemcomesintwoflavors:

AFL(sometimescalledSIP,orsolo-in-place)andPFL(sometimescalledPFL,orpre-fader-listen).

InAFL,thesoloedchannel’ssignalissentdirectly tothecontrolroom,headphonesandmeterdisplayjustasitwouldsoundtothechannel’sassignmentswitches:post-EQ[32],post-fader[25]andpost-pan[31]. Theonlydifferenceisthatsoloworksregardless ofthechannel’sassignmentpositions,andthat makesitreallyhandy—youcancheckouta channelbeforeyouassignit.

AFListhepreferredmodeduringmixdown: Ifthechannelhassomemidrangeboostat4.236kHz,ispannedasmidgentotheleft,anditsfaderisat–5.385dB,that’sexactlywhatyou’llhearifyousolo duringAFLmode.It’sjustasifyoutookthetimetomutealltheotherchannels.

PFLsoloisthekeyplayerintheall-important level-settingprocedure.It’llsendthechannel’s actualinternallevelstothemeterssoyou’llknow justwhat’sgoingon,level-wise.Thisprocedureshouldbeperformedeverytimeanewsoundsourceispatchedintoachannel’smic[1]orline[2]inputjacks.

PFLisalsothepreferredmodeforSR(sound reinforcement,orlivesound),topreviewchannelsbeforetheyareletintothemix.Itwon’tgiveyoustereoplacement,butwillgiveyousignalevenifthefader isturneddown.

Remember,PFLtapsthechannelsignalbeforethefader.Ifyouhaveachannel’sfadersetwaybelow“U”(unitygain),solowon’tknowthat

andwillsendaunitygainsignaltothecontrolroom,headphones,andmeterdisplay.Thatmayresultinastartlinglevelboostattheseoutputs,dependingonthepositionofthesolo[46]levelknob.

45. Level Set LEDWhenthemodeswitch[44]isengaged,it’sinPFL

mode,themodeyoumustbeintosetlevels.Now,whenyouengageanysoloswitch,thisLEDwillbea“greenlight”tosetlevels.IfyoutriedtosetlevelsduringAFLmode,themeterdisplaywouldbeatthemercyofthechannelfader,andthatwouldbeabigproblem.

46. Solo (Level)Thisknobcontrolsthelevelofthesignalscoming

fromthesolosystem.Afterthesololevelisdetermined,thesolosignalswillproceedtotakeoverthecontrolroom,headphones,andmeterdisplay.

Onceagain,PFLsolotapsthechannelsignalbeforethefader.Ifyouhaveachannel’sfadersetwaybelow“U”(unitygain),PFLsolo

won’tknowthatandwillsendaunitygainsignalto thecontrolroom,headphones,andmeterdisplay.Thismayresultinastartlinglevelboostattheseoutputs,dependingonthepositionofthesololevelknob.

47. Rude Solo LightThisflashingLED(lightemittingdiode)serves

twopurposes—toremindyouthatyou’reinsolo, andtoletyouknowthatyou’remixingona1604VLZ4.Noothercompanyissoconcernedaboutyourlevelofsoloawareness.Weevenforcethesoloedchannel’s–20LEDtoplayalong,soyoucanfindthatrogueswitchfast.

Ifyouworkonamixerthathasasolofunctionwith noindicatorlights,andyouhappentoforgetyou’re insolo,youcaneasilybetrickedintothinkingthatsomethingiswrongwithyourmixer.Hencetherudesololight.It’sespeciallyhandyatabout3:00inthemorning,whennosoundiscomingoutofyourmonitors,eventhoughyourmultitrackisplayingbacklikemad.

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4 48. MetersThe1604VLZ4’speakmeteringsystemismadeupof

twocolumnsoftwelveLEDs.Deceptivelysimple, consideringthemultitudeofsignalsthatcanbe monitoredbyit.Ifnothingisselectedinthesource[42]matrix,andnochannelsareinsolo[27],themeterdisplaywilljustsitthere.Toputthemtowork, youmustmakeaselectioninthesourcematrix (orengageachannel'ssoloswitch).

Why?Youwantthemeterdisplaytoreflectwhattheengineerislisteningto,andaswe’vecovered,theengineerislisteningeithertothecontrolroomoutputortheheadphones.TheonlydifferenceisthatwhilethelisteninglevelsarecontrolledbytheCR/phones[43]knob,themeterdisplayreadsthesourcemixbefore thatcontrol,givingyoutherealfactsatalltimes, evenifyou’renotlisteningatall.

Whenthesolomode[44]switchissettoPFL(down),allsoloedsignalswillbesenttotheleftmeteronly.That,combinedwiththelevelsetLED[45],arealongthepathofenlightenmentknownasthelevel-settingprocedure(page5).DuringAFLmode,themeterswillbehavenormally.

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Meters vs. RealityYoumayalreadybeanexpertattheworldof“+4”(+4

dBu=1.23V)and“–10”(–10dBV=0.32V)operatinglevels.Basically,whatmakesamixeroneortheotheristherelative0dBVU(or0VU)chosenforthemeterdisplay.A“+4”mixer,witha+4dBusignalpouringoutthebackwillactuallyread0VUonitsmeterdisplay.A“–10”mixer,witha–10dBVsignaltricklingout,willread,youguessedit,0VUonitsmeterdisplay.Sowhenis0VUactually0dBu?Rightnow!

Attheriskofcreatinganotherstandard,VLZ4 compactmixersaddresstheneedofbothcrowds bycallingthingsastheyare:0dBu(0.775V)attheoutputshowsas0VUonthemeterdisplay.Whatcouldbeeasier?Bytheway,themostwonderfulthingaboutstandardsisthattherearesomanytochoosefrom.

Thankstothe1604VLZ4’swidedynamicrange, youcangetagoodmixwithpeaksflashinganywherebetween–20and+10dBonthemeterdisplay. Mostamplifiersclipatabout+10dB,andsome recordersaren’tsoforgivingeither.Forbestreal-worldresults,trytokeepyourpeaksbetween“0”and“+7.”

Pleaseremember:Audiometerdisplaysarejusttoolstohelpassureyouthatyourlevelsare“intheballpark.”Youdon’thavetostareatthem(unlessyouwantto).Ifyoufindthatstaringatthemeterssendsyouintoahypnotictrance,pleasedonotbealarmed.JustcutmylawnandpolishmycareveryTuesday.

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Aux TalkSendsareoutputs,returnsareinputs.Eachchannel's

aux[34]knobstapthesignaloffthechannelandsendittotheauxsend[6]outputs.Aux1and2aresenttotheauxsends1and2[49]masterknobsbeforetheauxsendoutputs;aux3through6aresentdirectly.

Theseoutputscanbefedtotheinputsofareverborotherdevice.Fromthere,theoutputsoftheexternaldevicearefedbacktothemixer’sstereoreturn[7]inputs.Thenthesesignalsaresentthroughthestereoreturn[51]levelcontrols,andfinallydeliveredtothemainmix.

So,theoriginal“dry”signalscomefromthechannelstothemainmix,andtheaffected“wet”signalscomefromthestereoreturnstothemainmix,andoncemixedtogether,thedryandwetsignalscombinetocreateaglorioussound.Armedwiththisknowledge,let’svisittheAuxiliaryWorld:

49. Aux Sends (Master)Theseknobsprovideoveralllevelcontrolofauxsends

1and2,justbeforethey’redeliveredtotheirauxsend[6]outputs.Thisisperfectforcontrollingthelevelofstagemonitors,sinceyou’llbeusingaux1and2forthis,withtheirpre[35]switchesengaged.Auxsends3through6havenosuchcontrol—they’lljustsendtheirmixesdirectlytotheirrespectiveauxsendoutputsatunitygain.

Theseknobsgofromoff(turnedfullydown),tounitygainatthecenterdetent,with10dBofextragain(turnedfullyup).Aswithsomeotherlevelcontrols,youmayneverneedtheadditionalgain,butifyoueverdo,you’llbegladyouboughta1604VLZ4.

Thisisusuallytheknobyouturnupwhentheleadsingerglaresatyou,pointsathisstagemonitor,andstickshisthumbintheair.(Itwouldfollowsuitthatifthesingerstuckhisthumbdown,you’dturntheknobdown,butthatneverhappens.)

50. Aux Sends SoloOnceagain,inlivesoundsituationsauxsend1and

2arelikelytofeedyourstagemonitors.You’llwanttocheckthemixyou’resendingthem,andthat’swhatthesetwobuttonsarefor.(Aux3throughaux6havenosuchswitch.)BesideeachswitchisagreenLEDthat,justlikethechannel’s–20LED[28],helpsyoufindtheroguesoloswitch.

Theonlythingdifferentaboutauxsendssoloisthatit’snotreallyPFL(pre-faderlisten),andit’snotreallySIP(solo-in-place),it’sactuallyAFL(after-fader listen).DuringAFL[44]mode,you’llgetauxsend1’ssolosignal,post-auxsends[49]masterlevel,intheleftsideofthecontrolroomoutputs,phonesoutputand meterdisplay,andauxsend2ontherightside.(Ifyoueveruseaux1and2tocreateastereomonitormix,you’llunderstandwhy.)InPFLmode,you’llgetthe signaldead-center,butstillpost-auxsendsmasterlevel.

51. Stereo Returns (Level)Thesefourcontrolssettheoveralllevelofeffects

receivedfromthestereoreturn[7]inputjacks.Thesecontrolsaredesignedtohandleawiderangeofsignallevels—eachknobgoesfromoff,tounitygainatthedetent,to20dBgainfullyclockwise,tocompensateforlow-leveleffects.Signalspassingthroughtheselevelcontrolswillproceeddirectlytothemainmixfader[37],withexceptionsthatwe’lldiscussinamoment.

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

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52. To Aux 1 and To Aux 2Ifyouwanttoaddreverbordelaytothestage

monitormixes,thesearetheknobsforyou. Operatingindependentlyoftheirrespectively numberedstereoreturns[51]levelcontrols,theseknobsareexactlythesameasthechannelstrip aux1[34]andaux2knobs.

Thesetwoknobsfeedstereoreturnsignalstotheirrespectiveauxsend[6]outputs:

Toauxsend1feedsstereoreturn1toauxsend1master,and:

Toauxsend2feedsstereoreturn2toauxsend2master.

Theyareoffwhenturnedfullydown,deliverunitygainatthecenterdetent,andcanprovideupto15dB ofgainturnedfullyup.Stereoreturn3and4havenosuchknobs.

53. Main Mix To Subs (Stereo Return 3)Withthisswitchup,stereoreturn3behaveslikeall

theothers—itdeliversastereosignal,regulatedbyitslevelknob,tothemainmix.Whenyouengagethisswitch,thesignalsareremovedfromthemainmixbusesandsenttothe1-2/3-4switch,whichdivertsthesignaloncemore.We’renotfinished.Pleasereadon.

54. 1–2/3–4 (Stereo Return 3)Ifthemainmixtosubs[53]switchisdisengaged,

thisswitchdoesabsolutelynothing.Let’snowassumeit’sengaged.Stereoreturn3’sstereosignalwillnotbesenttothemainmix,buttosubgroupfaders1and2(thisswitchup)orsubgroupfaders3and4(thisswitchdown).

Let’ssayyou’vemadeastereodrumsubmixon subgroupfaders1and2,soyoucanridethosetwo fadersinsteadofthesevenchannelsthatthedrumscamefrom.Subgroupfader1hasitsassigntomain mix[39],leftbuttonengagedandsubgroupfader2 hasitsassigntomainmix,rightbuttonengaged, blendingthedrumsubmixbackintothemainmix. Thedrumchannelsarealsosendingsignalstoyourreverbviatheauxsends[6],andthereverboutputs arepatchedintostereoreturn3[7].Sofarsogood.

Eventhoughyoucouldsendstereoreturn3directlytothemainmix(mainmixtosubs[53]switchup),youdon’twantto.Instead,engagethemainmixtosubsswitchandmakesurethe1–2/3–4switchisup.Nowthereverbreturnwillbeblendedintothedrumsubmix,andasyouridethosetwofaders,thereverblevelwillfollow.

Whydowewantthat?Becauseifyouhadjustsentthereverbdirectlytothemainmix(mainmixtosubsswitchup)andyoudidadrumfade-outusingsubgroupfaders1and2,the“dry”signalswouldfadeout,butthe“wet”signalswouldkeeponsinging.Allyouwouldhearisthedrumreverb(the“wet”),andnoneoftheoriginaldrumsignals(the“dry”).That’sbecausethereverbisbeingfedbythechannel’sauxsends,andtheyhavenoideathatyou’vepulleddownthesubgroupfaders.That’swhywethrewintheseswitches,phew!

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55. CR/PH Only (Stereo Return 4)Onceagain,thedefaultforallthestereoreturnsisto

feedthemdirectlyintothemainmix.You’vejustlearnedabouttheoptionalexceptionsinvolvingstereoreturn3.

Stereoreturn4alsohasanoptionalexception:Byengagingthisswitch,youwillremovestereoreturn4’sstereosignalfromthemainmixandsenditdirectlytotheCR/phonessource[42]matrix.Itmattersnotifanyofthesourcematrixswitchesareassigned,butitwillbeinterrupted,asusual,ifasolo[27]switchisengaged.

Let’spretendyou’redoingalivemixtoa2-trackdeck,ahousePA,orboth,andyouwanttoplayalongtoaclicktrack.Youcouldruntheclicktrackdirectlyintothemainmix,butyoudon’twantthemixdowndeckand/oraudiencetohearit.Bygum,thisistheswitchforyou.Similarly,itcanbeusedforvoice-overtracks,narration,anythingyouwantheardbytheengineerandplayersbutnotbytheaudienceandmixdowndeck.

56. Returns Solo and LEDThisswitchoperatesjustlikethechannelsolo[27]

switches—engagingitsendssignalstothecontrolroom,headphones,andmeterdisplay,andinterruptswhateverhappenedtobetherebeforeyousoloed. Itfollowsthemode[44]switchsettingaswell. Theonlydifferenceisthatwhenyouengagethis returnssoloswitch,itsendsallfourstereoreturnssignalstothesolocircuit.

Assumeyouwanttosolothesnaredrum.Hitthatchannel’ssoloswitch,andyougetthe“dry”(noeffects)snareonly.Thathelps,butyouwanttohearitwiththereverbyouhavepatchedintoastereoreturn.Leavingthatchannel’ssoloswitchengaged,alsoengagethereturnssoloswitch,andnowyou’llgetthedrysnare anditsreverb.

Sinceitisaglobalfeature,you’llalsogetthesignalsfromalltheotherstereoreturns,sotheremaybesomesoundsthatyoudidn’twanttohear.Iftheyoffendyoursensibilities,simplyturndownthelevelsofthestereoreturnsyoudon’twanttohear,ormutethechannelsfeedingtheunwantedsignaltotheeffectsdeviceyou dowanttohear.

Congratulations!You’vejustreadaboutallthe featuresofyour1604VLZ4.You’reprobablyreadyfor acoldone.Goahead.Therestofthemanualcanwait.

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4 Appendix A: Service InformationWarranty Service

Ifyouthinkyour1604VLZ4hasaproblem,pleasecheckoutthefollowingtroubleshootingtipsanddo yourbesttoconfirmtheproblem.VisittheSupport sectionofourwebsite(www.720trees.com)where youwillfindlotsofusefulinformationsuchasFAQs andotherdocumentation.Youmayfindtheanswer totheproblemwithouthavingtosendyourmixeraway.

TroubleshootingBad Channel

• Arethechannelsassignedtothecorrectmix(1-2,3-4,L-R)?

• Isthefaderup?

• Tryunplugginganyinsertdevicesfromtheinsertjacks.

• Trythesamesourcesignalinanotherchannel,setupexactlylikethesuspectchannel.

Bad Output

• Isthelevelcontrol(ifany)turnedup?

• Ifyou’relisteningtotheCRoutsorphonesoutputs,hasasourceselectionbeenmade?

• Ifit’soneofthemainouts,tryunpluggingitscompanion.Forexample,ifit’sthe1/4"leftmainout,unplugtheRCAoutput.Ifthe problemgoesaway,it’snotthemixer.

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

• Unplugeverthingfromthemaininserts.

Noise

• Turnthechannelfadersandstereoreturnknobsdown,onebyone.Ifthesound disappears,it’seitherthatchannelor whateverispluggedintoit,sounplug whateverthatis.Ifthenoisedisappears, it’sfromyourwhatever.

Power

• Unplugthepowercordandcheckthefuse.

RepairForwarrantyservice,refertothewarranty

informationonpage35.

Non-warrantyserviceisavailableatafactory- authorizedservicecenter.Tolocatethenearest servicecenter,visitwww.720trees.com,click“ContactTechSupport”andselect“LocateaServiceCenter orDistributor”[3].Servicefora1604VLZ4living outsidetheUnitedStatesmaybeobtainedthrough localdealersordistributors.

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

Appendix B: ConnectionsBalanced XLR Input Connector

The1604VLZ4mixerhas16femaleXLRinputs. BesurethecablesarewiredperAES(Audio EngineeringSociety)standards:

Balanced XLR Input Connector

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

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Balanced XLR Input Connector

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Balanced XLR Output Connector

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


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

Balanced 1/4" TRS Connector

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


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


SLEEVE

TIPSLEEVE

TIP

RING

RING

TIP

SLEEVERING


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:


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.The1604VLZ4usesswitchesinthechannelinsertandbusinsertjacks,inputjacksandstereoreturns.Italsousestheseswitchestogroundtheline-levelinputswhennothingispluggedintothem.

Inmostcases,theplugmustbeinsertedfullytoactivatetheswitch.The1604VLZ4takesadvantageofthisinsomecircuits,specifyingcircumstanceswhereyouaretoinserttheplugonlypartially.See“SpecialConnections”,onthenextpage.

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE


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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

anticipatedinthewiringof1604VLZ4jacks.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


tipring

sleeve

SEND to 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).Thesig

16-Channel 4-Bus Compact Mixer OWNER’S MANUALdesign that made the 1604 an industry mainstay. All...

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Transcript of 16-Channel 4-Bus Compact Mixer OWNER’S MANUALdesign that made the 1604 an industry mainstay. All...