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Mackie VLZ3 4BUS DJ Equipment User Manual

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2. 33 Track Sheet Mono Channels X X X X X X X X GAIN GAIN GAIN GAIN GAIN SN GAIN GAN A0dB A0dB A0dB dB 048 HID OO G 5 60 g 60 8 60 60 s 60 15dB 45dB 15dB 45dB 415dB 45dB 15dB 45dB 415dB 45dB Gr Ki ar Kid ar LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT M OE OE onal M OE T x GE O OE O mad d OE 18dB OCT 18dB OCT 18dB OCT 18dB OCT 18dB OCT 18dB OCT 18dB OCT 18dB OCT PAD PAD PAD PAD PAD PAD PAD PAD Joe ell 255 5 ose 5 DR el gt ED ED WE B E E Pe ud em ES 15 15 5 415 oo E 2 E 6 3 D SS as D 3 415 5 5 oo 415 oo 5 15 co 415 oo 5 ate pales jae 4 D a 4 D 415 5 5 oo 415 15 5 oo 415 15 kg ee 80666 cl m Pl me re pre o Ep
3. INT FXa INT INT FX INT FX INT FX a AUX 5 6 X 5 6 AUX 5 6 AUX 5 6 AUX 5 6 AUX 5 6 L R 15 LOW CUT 100 Hz 18dB OCT LOW CUT 100 Hz 18dB OCT LOW CUT 100 Hz 18dB OCT 100 Hz Channel Controls The vertical channel strips look very similar and have only a few differences between them Each channel works independently and just controls the signals plugged into the inputs directly behind it U like Unity gain Mackie mixers have a U symbol on almost every level control It stands for unity gain meaning no change in signal level The labels on the controls are measured in decibels dB so you ll know what you re doing level wise if you choose to change a control s settings 23 GAIN CONTROL If you haven t already please read the level setting procedure on page 9 The gain knobs adjust the input sensitivity of the mic and line inputs This allows signals from the outside world to be adjusted to run through each channel at optimal internal operating levels If the signal originates through the mic XLR jack there will be 0 dB of gain with the knob fully down ramping to 60 dB of gain fully up Through the 1
4. 0 7 te Monitor Out e Aux 6 D L NIE A g zz Aux 4 Stereo Channels d 8 Aux 3 Solo gt G i 21 22 amp 23 24 2404 Hi Aux2 Solo Logic GR n Aux 1 5 R 29 30 amp 31 32 3204 vi A deg All S Level 4 olo Es A gt E Ma ix cp KL Gi Phones Tape Input LLL USB wy L R gt P Ac 3 ES track Input 4 Padi gt uss M Level In 1 Sub 1 level E comp pe 1 L gt Sub 1 Out fe Sub 2 4 identical i Stereo i S E gt e Aux 1 Level Return 1 amp 2 To Main Mix TS A T EA V7 lt ri Aux 1 Out R m EE Solo E Aux 2 6 identical y FX 1 master level go LA GR To Aux 1 ME 1 111 1111 1 1 1 11 1 ow gt SS SSS SSS SSS A To Aux 2 A 1 SS e p To Aux 3 v pec 9 Y To Aux 4 Main EF 5 Talkback v7 A Level Aut RC 1 pa ui To first stereo channel D TE Talkback SFX Mute presat Assign 995955 set Internal X1 N isplay 3 5353 5 55 gt 588 Internal FX 2 identical except S gia returns to second stereo FX 1 Bypass channel Logic Block D
5. 410 OFF MAX e OUTPUT SIGNAL STRENGTH dBu 10 5 0 5 10 15 420 INPUT SIGNAL STRENGTH dBu At the maximum compression the threshold is set at 0 dBu and the input to output relationship is represented by the lower curve If the input is 5 dBu that is below the threshold the output is 5 dBu As the input reaches 0 dBu the output is a bit less than 0 dBu If the input is 5 dBu the output is about 2 dBu If the input reaches 10 dBu then the output is 9 dBu Notice the shapely curve of the soft knee between the diagonal slope of x y and the compressor slope of 6 1 the compression ratio The other blue curves represent in between positions of the compressor knob with higher thresholds before compression begins Outboard compressors often have controls such as compression ratio threshold soft knee hard knee attack time and release time These last two affect how quickly the compressor kicks in when the input exceeds the threshold and how quickly it is released after it drops below the threshold In this compressor these parameters are specially chosen to give you the best overall performance Adjust the threshold carefully so your dynamic range is still lovely without distortion or overload during the performance Run through a few practice screams and high notes and adjust the compression as required My High School
6. 10 7 ei FO E 0 2 4 e 6 Lever 10 S 0 0 dB 0 dBu RUDE SOLO TAPE USB STEREO RETURNS SOLO MODE 51 USB OUT These two switches allow for monstrous flexibility on the four recordable signals The default switch configuration disengaged routes subgroups 1 4 over the USB connection to your favorite DAW software for a mix it later 4 track recording Engaging the switch on the left allows the main L R mix to be recorded for convenient stereo mixes of the show The other switch allows aux 5 6 to be sent to the DAW for a unique stereo recording or the use of DAW plug ins as effects 52 MASTER AUX SENDS 1 6 These knobs provide overall control over the aux send levels just before they are delivered to the aux send outputs 13 These knobs go from off to 15 db when turned all the way up This is usually the knob you turn up when the lead singer glares at you points at his stage monitor and sticks his thumb up in the air It would follow that if the singer stuck his thumb down you d turn the knob down but that never happens Keep in mind that aux sends 3 4 may either be p pre or post fader depending on the position of the channel s aux pre post switch 28 VERY IMPORTANT 22 53 MASTER AUX SENDS SOLO This button allows you to solo an individual aux send If you
7. UJ Appendix D USB and yov sb The built in USB interface allows for some power ful and flexible routing It is a 4x2 interface allowing you to record up to four streams from the mixer or to input stereo playback from a computer and route it to nearly any output or pair of outputs on the mixer To use this feature with a PC first download the PC ASIO driver from www mackie com If connecting to a Mac the mixer will show up as a 4x2 device with no driver required The USB routing capabilities are as follows USB input TO the mixer playback 1 Stereo channel 23 24 on the 2404 VLZ3 and 31 82 on the 3204 VLZ3 features a USB button so one may route computer output such as iTunes down the last stereo channel of the board This stereo signal may then be EQ d sent to auxiliaries i e to feed monitors headphones or effects and is routable to mains and or subgroups via the fader routing features that are available on all other channels In short this signal may be sent to nearly any desired output or pair of outputs Additionally the gain knob at the top of this channel strip adjusts the USB input level to the mixer to achieve an optimal signal level 2 The 2 Track Return section features a flip switch so a Tape source connected via RCA cables such as an iPod or the USB signal from a computer playing Windows Media Player files for example may be routed to the main bus This section also features a
8. 6o2 wr 1 wr o2 wr oo fg wr o gt wr o2 vn co B co B co B lt gt B co B A oo co Bl o Track Sheet Comp amp Stereo Channels and Master Section XX XX XX XX XXXX XX XX GAIN GAIN GAIN GAIN GAIN GAIN 098 E CB C D C y bake EC TEE e 1 C 3 C 12 HK FX MIXER WITH USB 60 0 5A 0 suck 55 8 45dB Ce p 5 ar p LOW CUT LOW CUT W CUT LOW CUT gt 18 8 18d DET JE 4 1898 nz zum 2 ml SM OMS ES SS L CE GRP1 24 MAIN C C USB mm TO MAIN MANUS MIX dr ex ctr Ra 56 UE AUX MASTERS STEREO RETURNS EET RIGHT COMP Come COMP Come 1 9 AUX AUX Laux AUX 9 AUX AUX a HE ele FE 1 RE 0 Ple 98 n co 76 2 4 So 15 5 15 So 15 6 15 66 15 62 415 N e e y ES ri 5 im 1 ES n oo 3 2 3 co 415 92 15 oo 5 92 b s SCH Oo 5 oo 5 2 3 0 3 lt U 3 U y 3 3 S 7 4 LEVELT Ee z 20 415 15 So 15 66 15 62 415 30 5 4 D 5 a 24 e 4 D 0 dB 0 dBu 62 415 62 445 62 415 So 415 62 415 62 15 RUDE SOLO 4 n wm e e
9. higher fidelity and headroom rivaling any standalone mic preamp on the market today The XLR inputs are wired as follows Pin 1 Shield or ground Pin 2 Positive 4 or hot Pin 3 Negative or cold We use phantom powered balanced inputs just like the big mega consoles for exactly the same reason This kind of circuit is excellent at rejecting hum and noise Professional ribbon dynamic and condenser mics all sound excellent through these inputs The mic line inputs will handle any kind of level you can toss at them without overloading Microphone level signals are passed through the mixer s splendid microphone preamplifiers to become line level signals The XDR2 preamps accept balanced line level signals because the mixer is equipped with a 20 dB pad on channels 1 16 2404 VLZ3 and channels 1 24 3204 VLZ3 so hot signals may pass See Appendix B page 29 for further details and some rather lovely drawings of the connectors you can use with your mixer PHANTOM POWER Most modern professional condenser mics require 48V phantom power which lets the mixer send low current DC voltage to the mic s electronics through the same wires that carry audio Semi pro condenser mics often have batteries to accomplish the same thing Phantom owes its name to an ability to be unseen by dynamic mics Shure SM57 8M58 for instance which don t need external power and aren t affected by it anyway Phantom
10. solo button and input level adjustment for fading house music up and down between bands at a house of worship or any other event where this may be necessary 36 USB output FROM the mixer recording ete 1 A variety of different signals may be recorded via the USB output section depending on the setup In the USB OUT section the switch on the left 51 will select either Groups 1 2 or the main mix to feed USB output channels 1 2 The second switch to the right will select either Groups 3 4 or Aux 5 6 to feed USB output channels 3 4 For example with both USB ouput switches in the default position up true 4 track recording may be accomplished via routing to subgroups 1 4 The USB tap points for the subgroups are pre fader also pre insert and post compressor The signals will show up on the DAW dependent upon how they are panned on the channels In other words if subgroups 1 and 2 are used to sub mix drums and those drums have a stereo image e g overheads and toms pan according to desire this stereo image is retained in the DAW inputs assuming subgroup 1 is set to L and subgroup 2 is set to R Any adjustments made to the subgroup drum levels during the show only pertain to the live show itself recording levels are not adjusted in the DAW unless they are adjusted on the channels However compression settings made on the mixer will apply to the recording Likewise it is possible to record the main mix to
11. 1 in 486 mm both Width 29 4 in 748 mm 2404 VLZ3 38 0 in 964 mm 3204 VLZ3 Weight 31 Ib 14 1 kg 2404 VLZ3 39 b 17 7 kg 3204 VLZ3 LOUD Technologies Inc is always striving to improve our products by incorporating new and improved materials components and manufacturing methods Therefore we reserve the right to change these specifications at any time without notice Mackie and the Running Man are registered trademarks of LOUD Technologies Inc All other brand names mentioned are trademarks or registered trademarks of their respective holders and are hereby acknowledged Please check our website for any updates to this manual www mackie com 2010 LOUD Technologies Inc All Rights Reserved 3 Dimensions 6 0 in 155 mm r N SEH 6 0 in 155 mm E Sr 3 m SE m STEE A ite xmi rm SESS Or i i E 1 D 168 6680 6 S6 E ls E E mum mmm mm mm 8 6 C D sl 0 19 1 in 486 mm eje Hi d pe ER Leien le z J Q G 3 oe OOO 2 D e 2 4 ch Ze S
12. 4 line input of channels 1 20 2404 VLZ3 and channels 1 28 8204 VLZ3 there is 15 dB of attenuation fully down and 45 dB of gain fully up with unity gain U at 10 00 Through the 1A line input of channels 21 22 and 23 24 2404 VLZ3 and 29 30 and 31 82 3204 VLZ3 there is 20 dB of attenuation fully down and 20 dB of gain fully up with unity gain U at 12 00 This 20 dB of attenuation can be very handy when you are inserting a hot signal or when you want to add EQ gain or both Without this virtual pad there is more chance of channel clipping 16 LOW CUT 18dB OCT LOW CUT 100 Hz 18dB OCT EM 55 MM 24 LOW CUT All mono channels have a low cut switch often referred to as a high pass filter that cuts bass frequencies below 100 Hz at a rate of 18 dB per octave We recommend that you use low cut on every microphone application except kick drum bass guitar or bassy synth patches These aside there isn t much down there that you want to hear and filtering it out makes the low stuff you do want much more crisp and tasty Not only that but low cut can help reduce the possibility of feedback in live situations and it helps to conserve amplifier power i SOE performances With the addition of low cut you can safely use low equalization on vocals Many times bass shelving EQ can really benefit voices Trouble is adding low EQ also boosts stage rumble mic handling clunks and breath pops from wa
13. Appendix C Technical Information e Specifications e Dimensions e Block Diagram e Track Sheet Appendix D USB and you sb Appendix E Table of Effects Presets Contents IMPORTANT SAFETY INSTRUCTIONS 2 cp OL mer 19 QUICK START iscsi 3 40 SIG LEDs 20 INTRODUCTION 4 16 11 access 20 TABLE OF CONTENTS rere 6 42 ASSIGN e 20 HOOKUP DIAGRAMS 7 43 CHANNEL FADER 20 dri xy 9 44 FXT 2 20 REAR PANEL CONNECTIONS 9 45 USB SWIE EE 20 ls INPUTS sss 9 2 TRACK USB AUX MASTERS and METERS 21 2 LINE INPUTS eerte 9 46 LAMP 559925525259 5 4555559555555559 5555555 21 Se INSERT 10 47 SUCK KNOB eere 21 4 STEREO LINE INPUTS 10 48 2 TRACK RETURN LEVEL 21 5 STEREO RETURNS 2 10 49 2 TRACK RETURN SOLO 21 6 TAPE INPUTS OUTPUTS 10 50 2 TRACK RETURN TAPE USB 21 7 L R MAIN OUTPUTS XLR amp 1 4 1 Sl U
14. Play something into that input at real world levels 4 Adjust that channel s gain control until the right main meter stays around the 0 dB LED marked level set Disengage the channel s solo switch Repeat steps 2 to 5 for the remaining channels Turn up the channel fader to the U mark on En Slowly turn up the main mix fader until you hear the signals in your headphones 9 Ifneeded apply some channel EQ wisely 10 Adjust the channel levels to get the best mix Keep the gain controls and levels fully down on unused channels 11 During the performance if you notice a channel OL LED turning on during peaks carefully turn down that channel s gain control until OL does not turn on Other Notes e When shutting down turn off any power amplifiers or powered speakers first When powering up turn them on last This will reduce the chance of turn on or turn off thumps e Always turn down the phones level when making connections pressing solo or doing anything that may cause loudness in the headphones This will help protect your hearing e Always turn down the main mix level and monitor level when making connections to the mixer Better yet turn off the power e Save the shipping box Introduction Awesomely unheard of features USB Recording and Playback The VLZ3 4eBus Series Mixers feature a 4x2 USB recording and playback function This means up to four signals may be recorded simultaneously an
15. are using the aux sends to feed your stage monitors you may use these buttons to check your monitor mix The rude solo LED 59 will flash to let you know the solo system is active The aux send solo is AFL and is not affected by the solo mode switch PFL AFL 60 except that in PFL mode only the left meter indicates the signal 54 STEREO RETURNS 1 2 to AUX 1 4 MAIN These ten controls set the overall level of line signals received from the stereo return 1 2 inputs 5 These controls range from off to 15 db of gain when fully clockwise to compensate for low level effects Signals passing through these controls go directly to the main mix and aux 1 4 buses where they are combined with signals from the channels 55 STEREO RETURNS SOLO This button allows you to solo a stereo return The rude solo LED 59 will flash to let you know that the solo system is active Since this is an input this signal is affected by the PFL AFL master switch 56 48V LED Most modern professional condenser mics require 48V phantom power which lets the mixer send low current DC voltage to the mic s electronics through the same wires that carry audio Semi pro condenser mics often have batteries to accomplish the same thing Phantom owes its name to an ability to be unseen by dynamic mics Shure SM57 8M58 for instance which don t need external power and aren t affected by it anyway Phantom power for all mic inputs except
16. between bands at a house of worship or any other event where this may be necessary USB output FROM the mixer recording ete 1 A variety of different signals may be recorded via the USB output section depending on the setup In the USB OUT section the switch on the left 51 will select either Groups 1 2 or the main mix to feed USB output channels 1 2 The second switch to the right will select either Groups 3 4 or Aux 5 6 to feed USB output channels 3 4 For example with both USB ouput switches in the default position up true 4 track recording may be accomplished via routing to subgroups 1 4 The USB tap points for the subgroups are pre fader also pre insert and post compressor The signals will show up on the DAW dependent upon how they are panned on the channels In other words if subgroups 1 and 2 are used to sub mix drums and those drums have a stereo image e g overheads and toms pan according to desire this stereo image is retained in the DAW inputs assuming subgroup 1 is set to L and subgroup 2 is set to R Any adjustments made to the subgroup drum levels during the show only pertain to the live show itself recording levels are not adjusted in the DAW unless they are adjusted on the channels However compression settings made on the mixer will apply to the recording Likewise it is possible to record the main mix to take home a copy of the live show These levels are also pre main fader The
17. group of channels on their way to the main mix 75 Let us say you have a drum kit hogging up seven channels and you are going to want to control their group volume more conveniently You do not want to try that with seven hands or seven fingers so just un assign these channels from the main mix and reassign them to groups 1 2 engage the assign to main mix left on group 1 and assign to main mix right on group 2 Now you may ride the entire drum mix with two faders groups 1 and 2 If you engage just one assign to main mix button per group left or right the signal sent to the main mix 75 will be the same level as the group outs 11 If you want the subgroup to appear in the center of the main mix engage both the assign to main mix left and right buttons The signal will be sent to both sides and reduced in level by 3 dB like a pan pot so the overall level is the same whether the group is assigned to main left main right or both Each group may also be soloed This does not mean that each member of a group gets their shot at a solo and stardom Rather this allows you to listen to the group in isolation via monitor outputs or headphones Being an output these signals are AFL Groups 1 2 and 3 4 are paired together for purposes of solo and work together differently in pfl and afl modes In pfl mode since pfl is a mono bus soloing Group 1 by itself Group 2 by itself or both together will result in the same level solo signal
18. headphones during a recording session The aux 1 4 switch routes the talkback signal to the aux send 1 4 outputs 13 Use this to communicate with the musicians through their stage monitors when you are setting up a live performance It is fine to have both destination switches pushed in at the same time so the talkback signal will be routed to both destinations But if you don t have either of the destination switches engaged the talkback signal won t go anywhere You might as well be talking to a brick wall 26 CH NOTE The talkback destination switches A are latching switches not momentary In other words there is no need to hold down the switch es when using the talkback feature Simply engage the switch es and begin talking But don t forget to disengage the switch when you re done talking to them or they may hear your unflattering remarks regarding their choice of apparel A CLOSER LOO you have a microphone attached to the E talkback mic input 19 d NOTE 2 The talkback will not work unless 72 COMPRESSOR Each of the four groups in the VLZ3 4eBus mixer has an in line compressor circuit with a variable threshold This is very useful for compression of vocals and snare drums for example See page 17 for an entire page and a graph even dedicated entirely to explaining compression 73 GROUPS ASSIGN One popular use of the groups is to use them as master faders for a
19. in 748 mm 1 8 in 46 5 mm Global 48v PES 5 Mono Insert Y Switch LED Insert gt eV gt enim A HH ze SS 222 A 2299 88 A C Phantom Power lo x Sig flicker OL flicker 3 iiiBirrgsg V Mono Out bypass L1 solo on mute on mios eu Gan _HPF In lt Vag ve o gt R lt Ee EVI a 80 ces An i 1 L Mono Channels HPF t e 5 f gt l h 1 16 2404 HEE KR A x E CJ 1 24 3204 Mic 0 60dB R Insert id Main Out Line 15 45dB 3 Band EQ 9 amp w Swept Mid SAT An 1 C I 9 Phantom Power gt bypass 7 Ht Gan HEM Main oF R f ge i 1 58 evel zA Me GT VE HPF gt fa 9 Mono Channels Line N 5 d L 17 20 2404 ine doe 4508 K Tape Out 25 28 3204 THEE euse 12 V R 20 Sig flicker solo on oo Sub 2 Y 4BandEQ 5 Sub 1 2 to USB 34 LO MD MD Hi Level Assign Main L R o N ses 5 Pan 2 Suo P Si USB Out p 80 400 25K 12K L p UR BS Sub 4 PRI EN D SN 3 7 BB lax Beem i 2 hu EB Sub 3 4 BB RUDE 8 5 LO MD MID HI 1 BB Soe Aux 5 6 P gt Isa Meter LED 2 ll Mono 80 400 25K 12K La FI Select Monitor i N wee 111111 1 1 1 11 11 2 d
20. math teacher Mr Marvin thought that graphs might come in handy for me one day Finally 17 27 AUX SENDS 1 6 These controls allow you to set up to six independent mixes typically for running stage monitors or external effects processors The controls are off when turned fully down deliver unity gain at the center and can provide up to 15 dB of gain turned fully up Chances are that you will never need this extra gain but it s nice to know that it s there if you do Aux Sends 1 6 13 are line level outputs and are used if you want to connect external processors powered stage monitors or external power amps with passive stage monitors Stereo Returns 1 2 5 are line level inputs typically used to return the output from external processors back to the main mix INT FX a AUX 5 6 Carefully adjust how much of each channel appears in your aux mixes For example if you are running stage monitors and someone wants more me and less them adjust these carefully Aux sends 3 4 can either be pre or post fader depending on the position of the aux pre post switches 28 For stage monitor work use pre so the stage monitors do not increase in volume when the channel level is adjusted For external processors use post In this way the feed to external processors will vary with the channel level keeping them in the same ratio wet dry Mono channel 28 PRE FADER AUX SENDS 1 2 Aux sends 1 2 a
21. rockin the electric guitar through a Blackheart full stack rig Each Blackheart cab is mic d and connected to the channel 8 and 9 mic inputs Keyboard player Chris is connected to the channel 10 and 11 line inputs well Chris isn t connected to the inputs his keyboard is Vocalist Brian is singing through a mic connected to the mic 19 input A bass guitar is connected to an Ampeg rig which is connected via DI to the mic 20 input The last four mono channels of each Mackie VLZ3 4eBus mixer have built in compressors so feel free to squeeze the vocals and bass to heart s desire since they lie here Last but not least a DJ is spinning records connected via Mackie d 2 Pro DJ mixer to the line inputs on stereo channels 21 22 The sound guy or gal may monitor levels using headphones via the headphones output and or a pair of Mackie HR824mk2 s connected to the monitor L R outputs Mackie SRM450v2 powered speakers are used as stage monitors for the band they are connected to the aux 1 4 send jacks A Mackie SRM150 powered speaker receives a mono input from the aux 5 send and is used as a monitor for Chris the keyboard player Graphic EGs are connected to aux inserts 1 4 to help prevent feedback The club is driven by connecting a pair of Mackie HD1801 powered subwoofers and a pair of Mackie HD1531 powered speakers to the main left and right outputs A laptop connects to the Mackie VLZ3 4 Bus mixer via the USB port allowing the 2 channel mai
22. service center To locate your nearest service center visit www mackie com click Support and select Locate a Service Center Service for Mackie products living outside the United States can be obtained through local dealers or distributors If you do not have access to our website you can call our Tech Support department at 1 800 898 3211 Monday Friday during normal business hours Pacific Time to explain the problem Tech Support will tell you where the nearest factory authorized service center is located in your area Appendix B Connections XLR Connectors Mackie mixers use 8 pin female XLR connectors on all microphone inputs with pin 1 wired to the grounded earthed shield pin 2 wired to the high hot or positive polarity side of the audio signal and pin 3 wired to the low cold or negative polarity side of the signal See Figure A Use a male XLR type connector usually found on the nether end of what is called a mic cable to connect to a female XLR jack Figure A XLR Connectors V4 TRS Phone Plugs and Jacks TRS stands for Tip Ring Sleeve the three connections available on a stereo 4 or balanced phone jack or plug See Figure B TRS jacks and plugs are used in several different applications e RNG EE SLEEVE RING TIP ap RING SLEEVE Figure B 14 TRS Plugs e Balanced mono circuits
23. the TRS outputs The 1 4 TRS output connectors provide balanced or unbalanced line level signals Connect these to the next device in the signal chain like an external processor compressor limiter or directly to the inputs of the main amplifier These are the same signal that appears at the XLR main outputs but 6 dB lower when the XLR is used balanced 8 MAIN INSERTS These 1 4 TRS jacks are for connecting serial effects such as compressors equalizers deessers or filters The insert point is after the mix amps but before the main mix fader 75 Refer to the description of the channel insert on the previous page to see how to make this connection 9 MONO OUT The male XLR connector balanced and 1 4 TRS output connector balanced or unbalanced provide a line level signal that is a combination of the left and right main out 7 signals L R You may use this for a separate mix that does not require a stereo feed or to simply test the monaural compatibility of the stereo mix Again when used balanced the XLR signal is 6 dB higher than that from the TRS jack 10 MONO OUT LEVEL Control This is a separate level control for the mono out 9 It comes after the main mix fader 75 so turning the main mix fader up and down does affect the mono out signal With this control turned all the way up you will have 6 dB of extra gain at the mono out 11 GROUP OUTS 1 4 These 1 4 TRS jacks provide balanced or unbalanc
24. the talk back mic may be selected by pressing up on the mixer s phantom 21 switch Never plug single ended unbalanced microphones or ribbon mics into the mic input jacks if phantom power is on Do not plug instrument outputs into the mic XLR input jacks with phantom power on unless you are certain it is safe to do so 57 POWER LED This green LED will illuminate when the mixer is turned on as a reminder of how on it really is If it is not on then it is off and the mixer becomes a rather nice weight for keeping your morning newspaper from blowing away in the wind If it does not turn on make sure the power cord is correctly inserted at both ends the local AC mains supply is active and the power switch 20 is on 58 LEFT RIGHT Level Meters These peak meters are made up of two columns of twelve LEDs with three colors to indicate different ranges of signal level traffic light style They range from 80 at the bottom to 0 in the middle to 20 CLIP at the top When a channel is soloed in PFL the right meter shows no reading and the left meter shows the level of that channel s signal level pre fader In AFL both left and right meters illuminate to indicate the After Fader Level of the signal and stereo imaging AFL is always used for outputs regardless of the position of the PFL AFL master switch as you always want to view the output level after the fader The left meter s 0 dB LED is labeled level
25. to adjust the volume at the monitor output 15 16 from off to maximum gain max 69 PHONES LEVEL This knob is used to adjust the volume at the phones output 17 from off to maximum gain max If solo is not active the monitor phones and meter are fed the post fader main mix signal E WARNING The headphone amp is loud and can cause permanent hearing damage Even intermediate levels may be painfully loud with some headphones BE CAREFUL Always turn this control all the way down before connecting headphones or pressing a solo switch 41 49 58 55 73 or doing anything new that may affect the headphone volume Then turn it up slowly as you listen carefully 70 TALKBACK LEVEL Use this knob to control the level of the talkback signal being routed to the main mix or aux 1 4 outputs from the internal microphone 1 Start with this control turned down 2 Select the destination either main mix and or aux 1 4 71 and make sure that their levels are already set nicely using the main mix fader 75 or aux masters 52 3 Slowly turn this control up until you get confirmation from whoever is listening that they can hear and obey your every command Once you have set the level you can leave it there for the duration of the session or gig 71 PUSH TO TALK MAIN AUX 1 4 Push in the main switch to route the talkback signal to the main outputs Use this to communicate with the talent in the studio through the
26. 00 QU Sieg ion ik s 20 SS 19 18 eee el seis EE Di e c e e X m Important Safety Instructions Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with a dry doth Do not block any ventilation openings Install in accordance with the manufacturer s instructions Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the 0 A grounding type plug has two blades and a third grounding prong The wide M e or the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Do not overload wall outlets and extension cords as this can result in a risk of fire or electric shock 11 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 12 Only use attachments accessories specified by the manufacturer 13 Use only w
27. 2 track for example simply engage the main mix switch on each channel that you want to hear and they will be sent to the main mix bus If you want to create a group of certain channels engage either the 1 2 or 3 4 switches instead of the main mix and they will be sent to the appropriate group faders From there the groups may be sent back to the main mix using the group assign switches 73 above the group faders 74 allowing you to use the group faders as a master control for those channels If you are creating new tracks or bouncing existing ones you will also use the 1 2 and 3 4 switches but not the main mix switch Here you do not want the groups sent back into the main mix bus but sent out via the group out jacks 11 to your multitrack inputs 43 CHANNEL FADER This is the last control in a channel s signal path and it adjusts the level of each channel onto the main mix The U mark indicates unity gain meaning no increase or decrease of signal level All the way up provides an additional 10 dB should you need to boost a section of a song If you find that the overall level is too quiet or too loud with the level near unity check that the gain control 23 is set correctly 44 FX1 and FX2 When engaged these switches located just below the stereo channels gain controls 23 indicate that you want to return the internal FX processor signal to the stereo channel The TRS inputs are disengaged when the s
28. 27 33 MID EQ FREQUENCY 19 APPENDIX A SERVICE INFORMATION 28 34 LOW NEO 19 APPENDIX B CONNECTIONS 29 35 HIGH MID EQ LEVEL 19 APPENDIX C TECHNICAL INFORMATION 3 36 LOW MID EQ 19 APPENDIX D USB and YOU SB 36 37 LI 19 APPENDIX E TABLE of EFFECTS PRESETS 37 38 MUTE eec 19 LIMITED WARRANTY euren 38 6 VLZ3 4eBus Hookup Diagrams desTROY Francis e a SE on six string 9 on drums 0 Turntables with phono level output T 5 Y 7 Brian on lead vox Mackie d 2 Pro DJ Production Console Mackie HR824mk2 Fowered Reference Monitore L R Monitor EQ Aux Inserts 1 4 N Fowered Monitor N for keyboard player Mackie SRM450v2 Fowered Speakers A x Send 5 for Stage Monitors Aux Sends 1 4 The drummer is the mic and channel hog of the band Dustin has the kick snare and three toms mic d up in addition to two overhead mics These run to mic inputs 1 7 desTROYer is
29. 4 21 48V PHANTOM POWER 14 55 SIG OLLED Eons e 24 22 POWER CONNECTION 14 64 PRESET DISPLAY 24 FRONT PANEL KNOB TWIDDLIN SECTION 15 65 PRESET SELECTOR TAP DELAY and LED 25 23 GAIN CONTROL rne 16 66 INTERNAL FX MUTE 25 VG TAKE 16 07 SOLO LEVEL criterio 25 25 PAD 20 dB Switch 16 68 MONITOR LEVEL 26 26 COMPRESSOR 17 69 PHONES 26 27 AUX SENDS 1 6 18 70 TALKBACK 26 28 PRE FADER AUX SENDS 1 2 18 71 PUSH TO TALK MAIN AUX 1 4 26 29 INT FX 1 2 AUX SENDS 5 6 18 72 COMPRESSOR iiss 26 30 INT FX AUX 5 6 Switch 18 73 GROUPS 5516 26 31 HIGH EQ eee 19 74 GROUP 1 4 FADERS en 27 32 MID EQ tere 19 75 MAIN Msn
30. 7 and the tape outputs 6 This gives you the ultimate feeling of power and control over the sound levels sent to your audience Adjust this control carefully with your good eye on the meters to check against overloading and your good ear to the levels to make sure your audience if any is happy The main mix signals are off with the fader fully down the U marking is unity gain and fully up provides 10 dB of additional gain This additional gain will typically never be needed but once again it s nice to know that it s there The fader is stereo as it affects both the left and right of the main mix equally This is the ideal control to slowly bring down at the end of a song or quickly in the middle of a song if the need ever arises This control does not affect the aux outputs 13 This does however conclude the main portion of the owner s manual From here on out it s all appendices You should pour yourself a cold frosty one and pat yourself on the back for making it here Ok congratulations are now over Time to plug in your VLZ3 4eBus mixer power it on and start twiddlin some knobs 27 Appendix A Service Information If you think your mixer has a problem please check out the following troubleshooting tips and do your best to confirm the problem Visit the Support section of our website www mackie com where you will find lots of useful information such as FAQs documentation and any updated PC driver
31. ISQUES 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 So NOU PORTABLE CART WARNING CAUTION AVIS RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR 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 clair avec point de fl che l int rieur d un triangle quilat ral est utilis pour alerter l utilisateur de la pr sence l int rieur du coffret de voltage dangereux non isol d ampleur suffisante pour constituer un risque d l ctrocution 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 l int rieur d un triangle quilat ral est employ pour alerter les utilisateurs de la pr sence d instructions importantes pour le fonctionnement et l entretien service dans le livret d instruction accompagnant l appareil p B 20 NOTE This equipment
32. SB OUT emm 22 8 MAIN 5 1 52 MASTER AUX SENDS 1 6 22 9 MONO OUT 55 5 5 1 53 MASTER AUX SENDS SOLO 22 10 MONO OUT LEVEL Control 1 54 STEREO RETURNS 1 2 to AUX 1 4 MAIN 22 11 GROUP OUTS 1 4 0 44 49 4 95666 665 11 55 STEREO RETURNS SOLO 22 12 GROUP INSERTS 1 30 ASV LED E 22 13 AUX SENDS 1 6 1 57 POWER LED eere enne tnnt 22 14 AUX INSERTS asics 12 58 LEFT RIGHT Level Meters 23 15 LEFT RIGHT MONITOR OUTPUTS 12 59 RUDE SOLO Light 23 16 MONO MONITOR OUTPUT 12 60 SOLO MODE erre 23 17 HEADPHONE OUTPUT 12 STEREO EFFECTS PROCESSORS HEADPHONES TALKBACK 18 USB INPUT OUTPUT 12 MAIN and GROUPS MIX 24 19 TALKBACK MIC ere 14 61 FX1 and FX2 SEND MASTER 24 20 POWER Sabina 14 62 FX1 and FX2 TO AUX 1 AUX 2 MAIN 2
33. Stage Warm Hall Concert Hall This hall reverb is characterized by its large spacious sound long pre delay and vibrant tone Cathedral This reverb emulates the extremely long tails dense dif fusion and long pre delays and reflections that would be found in a very large stone walled house of worship Gated Reverb Chorus Reverb Tape Slap 17 DLY 1 Bright 350ms 18 DLY 1 Warm 300ms DLY 2 Bright 250ms DLY 2 Warm 200ms DLY 3 Bright 175ms DLY 3 Warm 150ms Chorus DLY 300ms This vintage plate emulation is warmer than your standard plate with a long reverberant tail lots of fast reflections and a very short pre delay with a short pre delay to simulate the sound of a small wood paneled room This room has a bright tone with lots of scattered reflec tions to simulate harder more reflective surfaces This preset features a medium sized room sound with just enough enhancement of the lower mids to produce a warm tone This preset simulates the sound of a small concert stage with a medium reverb time and reverberant space This reverb has a warm bodied tone and medium long reverb time to simulate the live acoustics of a theater space This preset emulates the sound of a large performance stage characterized by medium long reverb time an pre delay plus a touch of sizzle This reverb simulates the sound of a spacious yet cozy heavily draped and carpeted concert hall with an espe cially warm ton
34. The audible solo levels are then controlled by the solo knob 67 The discrete level controls for headphones and monitor outputs are dependent on what is plugged in With the solo mode switch in the up position you are in PFL mode meaning Pre Fader Listen This mode is required for the Set the Levels procedure and is handy for quick spot checks of channels especially ones that have their faders turned down PFL mode is only available to input signals While in PFL mode if an output is soloed its signal will show up but it will be an AFL signal With the solo mode switch down you are in AFL mode meaning After Fader Listen You will be able to hear the stereo output of the soloed channel it will follow the channel s fader 43 and pan 37 settings It is similar to muting all of the other channels but without the hassle AFL mode is the only soloing mode for subgroups and aux masters Subgroups 1 2 or 3 4 may be soloed simultaneously for a true stereo image AFL is a new feature available to channel inputs and provides a mixdown solution that allows soloing the mix as it is on the faders In PFL mode solo will not be affected by a channel s mute switch 38 position Remember PFL mode taps the channel signal before the fader If you have a channel s fader set way below U unity gain solo will not know that and will send a unity gain signal to the monitor outputs 15 16 phones output 17 and meter display 58 Th
35. When wired as a balanced connector a 1A TRS jack or plug is connected tip to signal high hot ring to signal low cold and sleeve to ground earth e Stereo Headphones and rarely stereo microphones and stereo line connections When wired for stereo a 1A TRS jack or plug is connected tip to left ring to right and sleeve to ground earth Mackie mixers do not directly accept 1 plug type stereo microphones They must be separated into a left cord and a right cord which are plugged into two mic preamps e Unbalanced Send Return circuits When wired as send return Y connector a 1 4 TRS jack or plug is connected tip to signal send output from mixer ring to signal return input back into mixer and sleeve to ground earth V4 TS Phone Plugs and Jacks TS stands for Tip Sleeve the two connections available on a mono 1 4 phone jack or plug See Figure C Figure C TS Plug TS jacks and plugs are used in many different applications always unbalanced The tip is connected to the audio signal and the sleeve to ground earth Some examples e Unbalanced microphones e Electric guitars and electronic instruments e Unbalanced line level connections e Speaker connections TT Don t use guitar cords for speaker cables They re not designed to handle speaker level signals and could overheat RCA Plugs and Jacks RCA type plugs also known as phono plugs and jacks are often used in home stereo an
36. at may result in a startling level boost at these outputs when switching from AFL to PFL mode depending on the position of the solo level knob 67 23 E 68 Ww Q MAX MONITOR ei A 1 A A ala oo MAX PHONES TALKBACK oo MAX TO MAIN GROUPS Stereo Effects Processors Headphones Talkback Main and Groups Mix There are two identical Mackie Running Man 82 bit internal effects processors They are mono in stereo out effects processors with 24 presets each Signals to these effects processors come from adjusting the FX1 and or FX2 aux send 29 on each channel and the FX masters 61 The stereo output from each processor may be added to the main mix using the FX to main knob 62 The stereo output from each processor may also be added to aux 1 and or aux 2 by adjusting the FX to aux control 62 24 Or the FX returns may be routed to the stereo input channels 23 24 on the 2404 VLZ8 31 82 on the 3204 VLZ3 using the the FX1 and or FX2 switches 44 This allows for way more flexibility For example you can EQ the FX and send them to any aux group or main Just remember to turn the to aux 1 to aux 2 and to main knobs 62 fully counter clockwise to avoid double bussing The talkback feature allows the engineer to communicate with the talent eith
37. ay get internal effects processor output via the FX to AUX controls 62 Any or all of these signals are mixed together saut ed to a turn and sent out the aux send jacks 13 after the optimum output level is determined by the aux masters 52 Aux sends from the channels are pre fader aux 1 2 selectable pre or post fader aux 3 4 and post fader aux 5 6 All are post EQ Post fader aux sends can be fed to the inputs of an external processor like a reverb or digital delay From there the outputs of this external processor are fed back to the mixer s stereo return jacks 5 Then these signals are sent through the stereo return level controls 54 and finally delivered to the main mix or to auxes 1 4 to add effects to monitors if so desired by the talent More me More reverb So the original unprocessed dry signals go from the channels to the main mix and the processed wet signals go from the stereo returns to the main mix and once mixed together the dry and wet signals combine to create a glorious sound Pre fader aux sends are typically used to provide another mix for stage monitors If no external effects are being used the stereo returns can be used as additional stereo inputs or not used at all Read on to learn more about these features 46 LAMP This female BNC connector provides 12 volts DC with the center pin positive Connect any quality gooseneck lamp here 47 SUCK KNOB If the ban
38. bal TY Mur 2 15 92 15 oo 15 15 co C 415 5 U 6 Zo SIS 8 Zo DI TA SL Zo LZ oo 6 6 U 6 U 6 U FX2 lt 3 FX2 3 a 3 5 15 co 5 5 co 5 co 15 5 15 INT FX amp INT FX amp INT FX a INT EX INT FX amp INT FX amp INT FX INT FX amp AUX 5 6 a AUX 5 6 a AUX 5 6 a AUX 5 6 AUX 5 6 a AUX 5 6 a AUX 5 6 a AUX 5 6 a 50 eee 50 EO lEa EQ HI HI HI HI A 12k 12k A 12k 12k 15 15 M5 15 Ms 15 M5 15 M5 15 S U U U U M5 15 15 1 15 E M5 15 15 1 15 M5 us Ms 15 800 8 800 800 800 800 X FREQ Ca N FREQ x FREQ FREQ E FREQ FREQ KS 2 2k 200 200 2k 20 2k 00 SH y FREQ ay Tw FREQ S x Xg vq v SIG SIG se IE SOLO SOLO SOLO ES 10 Es ol 10 8 10 8 EM 10 8 10 8 UE 8 12 12 12 gt 12 12 12 12 20 20 8 20 Es 20 8 20 Es 20 ES 20 8 30 34 34 o gt 34 34 zo 34 30 9 40 8 40 8 40 8 40 8 40 8 40 8 40 8 50 8 50 ES 50 E 50 ES 5o0 E EE ES 50 ES 1
39. be silenced both pre and post fader The channel insert 3 will continue to provide a signal when a channel is muted The OL LED 39 will illuminate when a channel s mute switch is engaged 39 OL LED This LED indicates the channel s signal level after the gain and EQ controls but just before the channel s level So even if the level is turned down you can see if the channel is being overloaded Stereo channel 19 The OL overload LED will come on when the channel s input signal is too high This should be avoided as distortion will occur If the OL LED comes on regularly check that the gain control 23 is set correctly for your input device and that the channel EQ is not set with too much boost The OL LED will also illuminate when a channel s mute switch 38 is engaged 40 SIG LED This LED also indicates the channel s signal level after the gain and EQ controls but just before the channel s level So even if the level is turned down you can see if a signal is present The SIG signal LED will come on when the channels input signal at least 20 dBu is present It should illuminate non stop if signal above 0 dBu is present in that channel This LED will be solid when a channel s solo switch 41 is engaged 41 SOLO Whenever a channel s solo switch is engaged you will hear only the soloed channel s in the headphones and monitor outputs This gives you the opportunity to audition the channels be
40. cording device 17 HEADPHONE OUTPUT This 1 4 TRS connector supplies the output to your stereo headphones It is the same signal that is routed to the monitor outputs 15 16 The volume is controlled with the phones knob 69 right next to the monitor knob 68 12 Whenever a solo switch 41 49 58 55 73 is engaged you will only hear the soloed channel s 2 track return aux es and or group s in the headphones This gives you the opportunity to audition the channels before they are added to the main mix Solo signals reaching the headphones are not affected by the channel level or main level except in AFL mode therefore turn down the phones level first as soloed channels may be loud The phones output follows standard conventions Tip Left channel Ring Right channel Sleeve Common ground WARNING The headphone amp is loud and can cause permanent hearing damage Even intermediate levels may be painfully loud with some headphones BE CAREFUL Always turn the phones level control 69 all the way down before connecting headphones or pressing a solo switch or doing anything new that may affect the headphone volume Then turn it up slowly as you listen carefully VERY IMPORTANT 18 USB INPUT OUTPUT The built in USB interface allows for some power ful and flexible routing It is a 4x2 interface allowing you to record up to four streams from the mixer or to input stereo playback from a computer a
41. cut filter available on every mic input e 60mm long wearing logarithmic taper faders e Al steel classic Mackie Built Like A Tank chassis design e Smallest footprint in class saves precious desk space 2404 VLZ3 6 x 29 4 x 19 1 3204 VLZ8 6 x 38 x 19 1 e Lightweight and portable 2404 VLZ3 31 lbs 14 1 kg 3204 VLZ8 39 lbs 17 7 kg How To Use This Manual The first pages after the table of contents are the hookup diagrams These show typical setups for fun times with your mixer Next is a detailed tour of the entire mixer The descriptions are divided into sections just as your mixer is organized into distinct zones e Rear Panel Connections e Channel Controls e 2 Track USB Aux Masters Meters e Stereo Effects Processors Headphones Talkback Main and Groups Mix Throughout these sections you ll find illustrations with each feature numbered and described in nearby paragraphs mp important or unique to the mixer For your own good read them and remember them This icon will lead you to some explanations of 4 E features and practical tips Go ahead and skip 8 these if you need to leave the room in a hurry Appendices This icon marks information that is critically Appendix A Service Information e Troubleshooting e Repair Appendix B Connections 9 XLR Connectors 1 4 TRS Phone Plugs and Jacks 1 4 TS Phone Plugs and Jacks RCA Plugs and Jacks TRS Send Receive Insert Jacks
42. d a stereo mix returned to the mixer for playback There are two switches in the master section labeled USB OUT that allow for monstrous flexibility on the four recordable signals The default switch configuration routes subgroups 1 4 over the USB connection to your favorite DAW software for a mix it later 4 track recording The Subgroup 1 2 switch also allows the L R mix to be recorded for convenient stereo mixes of the show The Subgroup 3 4 switch allows aux 5 6 to be sent to the DAW for a unique stereo recording or the use of DAW plug ins as effects For playback there are two switches in the master section labeled 2 TRACK RETURN One switch TAPE USB changes the standard dual RCA inputs to main tape switch disengaged to stereo USB to main USB switch engaged This is an extremely convenient function for playing music over the main mix from a computer We prefer to jam some Johnny The Man in Black Cash in between bands at the local rock clubs But feel free to play whatever you want unless it s ah never mind we won t go there Another cool feature of the VLZ3 4eBus is routing the stereo USB return to the last stereo channel of the mixer This is a mighty fine tool for a number of live and recording uses For example playback through the stereo channel allows the Greg Mackie designed 4 band EQ to be utilized to sweeten the sounds It may also be used for overdubbing by sending music to the musicians headphones th
43. d performing asks you if you can make them sound better reply with a resounding yes indeed I can make you sound better I will turn down the Suck Knob 47 which will do wonders for your band As seen it is broken down in percentages from 0 suck turned fully counter clockwise to 100 suck turned fully clockwise This way you get to determine the Suck Factor Percentage SFP of the band If they follow instructions buy you beers and are a swell bunch turn the knob counter clockwise If the drummer hits the snare drum or the guitarist does a screaming harmonic dive bomb while you re setting up mics on their respective equipment and thusly helping to ruin your hearing huh feel free to crank the knob clockwise 48 2 TRACK RETURN LEVEL This knob controls the overall level to the mains of the tape RCA or USB depending on the position of the 2 track return tape USB switch 50 This knob s level ranges from off through unity center detent position on up to 20 dB of extra gain fully clockwise 49 2 TRACK RETURN SOLO This switch sends the 2 track return tape or USB depending on the position of the switch 50 to the solo bus 50 2 TRACK RETURN TAPE USB This determines if the 2 track return gets its signal from the RCA tape inputs switch disengaged or USB switch engaged 2 2 TRACK RETURN USB OU CH jh 3 4 GRP1 24 GRP 3 4 E MAIN LR AUX5 6 x 56 LEFT RIGHT 20
44. d video equipment and in many other applications Figure D They are unbalanced and electrically identical to a 1 4 T phone plug or jack See Figure C Connect the signal to the center post and the ground earth or shield to the surrounding basket VERY IMPORTANT SLEEVE TIP SLEEVE TIP i m E pej Figure D RCA Plug Figure E Does not appear in this owner s manual due to a contractual obligation but performs nightly at the downtown Woodinville Cocoa Rooms and Tea Bar Owners Manual 29 TRS Send Receive Insert Jacks Mackie s single jack inserts are the three conductor TRS 1A phone type They are unbalanced but have both the mixer output send and the mixer input return signals in one connector See Figure F SEND to processor tip ring tip TRS plug This plug connecte to one of the ring mixers Channel Insert jacks RETURN from processor 9 Figure F The sleeve is the common ground earth for both signals The send from the mixer to the external unit is carried on the tip and the return from the unit to the mixer is on the ring Using the Send only on an Insert Jack If you insert a TS mono 1 4 plug only partially to the first click into a Mackie insert jack the plug will not activate the jack switch and will not open the insert loop in the circuit thereby allowing the channel signal to continue on its merry way through the mixer This all
45. e This preset incorporates an age old trick whereby an extremely dense reverb is processed through a fast gate for an interesting albeit artificial sound This preset provides a soft ethereal sweeping effect that pop out of the mix This preset perfectly combines the chorus effect above with a large roomy reverb This effect simulates the sound of a vocal or instrument being recorded twice double tracked on a multi track recorder This effect provides a single relatively rapid delay of the original signal with the added warmth that vintage tape based echo units provided These 6 delay presets provide one delay 1 three delay 2 or six delay 3 repeats of the original signal The default delay time for each preset is shown in mS the smaller the time the faster the delay Delay times can easily be customized to suit the moment by tapping the knob 63 more than once This effect combines the thickening effect of the chorus with the echoes of the 3 repeat delay effect Delay times can easily be customized to suit the moment by using the Tap feature Reverb DLY 200ms This effect combines the Warm Theater reverb effect with the echoes of the 3 repeat delay effect Delay times can easily be customized to suit the moment by using the Tap feature Perfect for thickening percussive instruments such as a snare drum or tight vocal arrangements Particularly suited for vocal signals but can also be used fo
46. e all buttons are in the out position Connections 1 Make sure the AC power switch is off before making any connections 2 Pushthe linecord securely into the IEC connector on the rear panel and plug it into a 3 prong AC outlet The mixer can accept any AC voltage ranging from 100 VAC to 240 VAC 3 Plug a balanced microphone into one of the mic XLR 9 pin connectors Or connect any line level signal keyboard or guitar preamp to a line input jack using a TS or a TRS 1 4 plug 4 fyour microphone requires phantom power turn on the 48V phantom power button 5 All mono channels have insert jacks that can be used to connect an external effects or dynamics processor into the signal chain 6 Connect the main outputs of the mixer either XLR or TRS 1 4 to the line level inputs of your amplifier with speakers already attached or to the line level inputs of powered speakers Part No SW0844 Rev A 06 10 2010 LOUD Technologies Inc All Rights Reserved Loosely based on a dream involving strong personalities and even stronger drinks wait that wasn t a dream Set the levels It s not even necessary to hear what you re doing to set optimal levels But if you d like to Plug headphones into the phones output jack then turn up the phones knob just a little 1 Turn on the mixer by pressing the top edge of the power switch 2 For one channel press the solo switch in and the rude solo light will turn on 3
47. e ended unbalanced microphones or ribbon mics into the mic 2 input jacks if phantom power is on Do not plug instrument outputs into the mic XLR input jacks with phantom power on unless you know for certain it is safe to do so Be sure the main level 75 is turned down when connecting microphones to the mic inputs when phantom power is turned on to prevent pops from getting through to the speakers 22 POWER CONNECTION This is a standard 3 prong IEC power connector Connect the detachable linecord included in the box with your mixer to the power receptacle and plug the other end of the linecord into an AC outlet The VLZ3 4eBus Series Mixers have a universal power supply that can accept any AC voltage ranging from 100 VAC to 240 VAC No need for voltage select switches It will work virtually anywhere in the world That s why we call it a Planet Earth power supply It is less susceptible to voltage sags or spikes compared to conventional power supplies and provides greater electromagnetic isolation and better protection against AC line noise Disconnecting the plugs ground pin is dangerous Don t do it VLZ3 4eBus Features Front Panel Channel Strip 17 1 20 21 22 23 24 060 0 5dB 458 5598 LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT oe el d i ell 265 ch 85 9 24 18dB OCT 18dB OCT 18dB OCT 18dB OCT 18dB OCT 0 0 15dB 45dB 15dB 45dB
48. e insert jack to an external device be processed and come back in on the same insert jack To do this requires a standard insert cable that must be wired thusly SEND to proceesor tip ring P sleeve TRS plug This plug connecte to one of the ring ring RETURN from processor mixers Channel Insert jacks Tip send output to effects device Ring return input from effects device Sleeve common ground Insert jacks may be used as channel direct outputs post gain and pre EQ See the connector section on page 30 figure G showing three ways to use insert cables 4 STEREO LINE INPUTS The stereo line inputs are designed for 1 4 TRS balanced or 1 4 TS unbalanced signals They may accept any line level instrument effects device CD player etc Level control is available 20 dB to 20 dB if you are connecting a mono source Use the left mono stereo return input and the mono signals will appear on both sides of the main mix 10 INSERT 5 STEREO RETURNS 1 2 The stereo aux returns are designed for 1 4 TRS balanced or 1 4 TS unbalanced signals from 20 dB to 20 dB They allow the stereo processed output from external effects processors or other devices to be added to the main mix Level adjustment of the incoming signals is made with the stereo return controls 54 You may also use these inputs to add any stereo line level signals to your main mix so it cou
49. ed line level signals and are typically patched to the inputs of a multitrack deck or to secondary amplifiers in a complex installation 12 GROUP INSERTS These 1 4 TRS jacks are for connecting serial effects such as compressors equalizers de essers or filters The insert point is after the mix amps but before the group send masters 74 and after the built in stereo compressor 72 Refer to the description of the channel insert on the previous page to see how to make this connection 13 AUX SENDS 1 6 These 1 4 TRS connectors allow you to send balanced or unbalanced line level outputs to external effects devices headphone amplifiers or stage monitors These could either be passive stage monitors powered by an external amplifier or powered stage monitors with built in power amplifiers All six auxes are independent of each other so you can run up to six separate aux mixes Aux sends 3 4 may either be pre or post fader depending on the position of the pre post switches 28 For stage monitor work use pre so the stage monitors do not increase in volume when the channel level is adjusted Imagine how upsetting that can be to big hairy drummers This allows you to set up the monitor mix and levels just right and not have it change every time a channel level is adjusted For external processors use post In this way the feed to external processors will vary with the channel level so the level of any returned effect
50. ed typically include the male P vocal range as well as the a fundamentals and harmonics of many lower timbred instruments 10 20 37 PAN This control allows you to adjust how much of the channel signal is sent to the left versus the right outputs With the knob panned hard left the signal feeds the main left group 1 or group 3 busses depending on the setting of the assign switches 42 With the knob panned hard right the signal feeds the main right group 2 or group 4 busses again dependent on the setting of the assign switches 42 The pan control employs a design called Constant Loudness If you have a channel panned hard left or right and then pan to the center the signal is attenuated about 3 dB to maintain the same apparent loudness Otherwise it would make the sound appear much louder when panned center This control is properly called BAL for balance in the stereo channels 38 MUTE Mute switches do just what they sound like they do They turn off the signal by routing it into oblivion Engaging a channel s mute switch almost provides the same results as turning the fader all the way down a pre aux send is not affected by the channel fader but it is by the mute switch Any channel assignments to main mix group 1 2 or group 3 4 will be interrupted and all of the aux sends will
51. ent appareil num rique n met pas de bruits radio lectriques d passant las limites Gar aux appareils num riques de class A de class B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict 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 0 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 pene hearing loss if exposure is in excess of the limits set forth ere Duration Sound Level Typical Example D dayin dBA Slow ours Response Duo in small club Subway Train Very loud classical music 0 105 10 0 25 or less 115 WARNING To reduce the risk of fire or electric shock d
52. er through the phones output 17 or the aux 1 4 send outputs 13 using an external talkback microphone This saves a lot of shouting over the audience s heads as you set up the talented one s stage monitors to their peculiarly picky satisfaction 61 FX1 and FX2 SEND MASTER These knobs control the level of the signals going into each internal effects processor Adjust them carefully keeping an eye on the adjacent sig ol LED 63 to prevent overloading the effects processor 62 FX1 and FX2 TO AUX 1 AUX 2 MAIN These knobs route the effects output to aux 1 aux 2 and mains independently Use aux 1 and aux 2 to provide effects to monitors Slowly add effects to the monitors by turning the to aux 1 and to aux 2 knobs clockwise Use the aux master to monitor the amount sent The FX output to the mains will be heard directly from the PA 63 SIG OL LED These dual LEDs illuminate green when the signal level going into each effects processor is within a good operating range sig They illuminate red if the effects processor is overloaded with too strong of a signal ol Turn down the send master levels 61 and check the channel sends if these light red regularly The signals going into the processors are affected by the channels aux 5 6 sends 29 the channel gain 23 EQ 31 96 and channel faders 43 as well as the FX Send Master 61 64 PRESET DISPLAY These displays show the number of the currently selected effect
53. fore they are added to the main mix In PFL mode you can hear the solo signal even when the channel s fader is down Solo is also used to set the gain of each channel correctly When a channel is soloed you can adjust the channel gain 23 until your input source reaches the level of the 0 dB LED of the left meter Select PFL on the SOLO MODE switch 60 for gain setting Solo signals reaching the headphones and 4 CH monitor outputs are not affected by the Cl channel level unless the SOLO MODE switch is set to AFL or main level therefore turn down the phones level 69 and monitor level 68 first as soloed channels may be loud The rude solo light 59 will turn on as a reminder that what you are listening to in the headphones and control room is just the soloed channel s 2 track return stereo return s aux es and or group s If the solo source is an input channel that channel s SIG signal LED 40 will illuminate when that channel is soloed 42 ASSIGN Alongside each channel fader are three buttons referred to as channel assignment switches Used in conjunction with the channel s pan knob 37 they are used to determine the destination of the channel s signal 20 With the pan knob at the center detent the left and right sides receive equal signal levels main mix L R group 1 2 and group 8 4 To feed only one side or the other turn the pan knob accordingly If you are doing a mixdown to a
54. 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 Se 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 9 Reorient or relocate the receiving antenna e Increase the separation between the equipment and the receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected zu the dealer or an experienced radio TV technician for elp 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 1108 limits for radio noise emissions trom digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications ATTENTION Le pr s
55. ilar to chorus without the subtle swirl Often used on vocals for a 1950 s era feel or on guitars for a surf type tone Often used by people whose favorite number is 16 These work best with full up beat music like rock where the delay needs to cut through the mix Warm delays get progressively softer and warmer in tone with each repetition and work great with slow mellow music Bright delays have repeots that are consistent in tone with the original sound Useful on a clean electric guitar that needs a mildly swirling ethereal tone Perfect for thickening vocals while adding dimen sions it can also be used as a spacey effect on electric guitars For presets 17 to 24 the delay can be entered by tapping the preset selector knobs 65 more than once 3 VLZ3 4 8 5 Limited Warranty Please keep your sales receipt in a safe place This Limited Product Warranty Product Warranty is provided by LOUD Technologies Inc LOUD and is applicable to products purchased in the United States or Canada through a LOUD authorized reseller or dealer The Product Warranty will not extend to anyone other than the original purchaser of the product hereinafter Customer you or your For products purchased outside the U S or Canada please visit www mackie com warranty to find contact information for your local distributor and information on any warranty coverage provided by the distributor in your local ma
56. ion Email us at techmail mackie com e Telephone 1 800 898 3211 to speak with one of our splendid technical support chaps Monday through Friday normal business hours PST e 16220 Wood Red Road NE Woodinville WA 98072 USA United States and Canada 800 898 3211 Europe Asia Central and South America 425 487 4333 Middle East and Africa 31 20 654 4000 Fax 425 487 4337 www mackie com E mail sales mackie com
57. ith a cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is used use caution when det the cart apparatus combination to 6 avoid injury trom tip over I 14 Unplug this apparatus during lightning storms or cb when unuse for long periods of time 15 Refer all servicing to qualified service personnel Servicing is required when the apparatus has been damaged in any way such as power 7 cord or plug is damaged liquid has been spilled or objects have fallen into the apparatus the apparatus has been exposed to rain or moisture does not operate normally or has been dropped 16 This apparatus shall not be exposed to dripping or splashing and no object Filed with liquids such as vases or beer glasses shall be placed on the apparatus 17 This apparatus has been designed with Class construction and must be connected to a mains de 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 dici device shall remain readily operable AN A 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 R
58. ixer with USB VLZ3 458 5 24 32 Channel Premium FX M 88 LE KN H 9 d H ae Ze le lt z lt e cc LA z e e e CH Zu e A SZ EN 4 E 43 ER e d 5 A 5 e D 2 E i 8 O e F E 5 A a pu S A SZ A 5 E Q pt 5 A D 43 SH SES E e Fu og e O 8 66 6 o6 er 55 aS 69 as e pe ae o6 69 e 69 e ee as 33 o BS 5 S i 5 n 58 28 0 e 29 28 2 3 28 28 28 58 37 9 aO OG GGG GO 6 6 6 6 G0 0 0 6 6 0 3 SERGE e Gre ere 6 6 6 G 6 6 GG 6 G6 G al a E 68 M 5 5 3 e emos ne ne seele rs e mm rs e SE EAS E m ows ona fa ka esee Lie 7 7 67 CO OO 00 0G
59. l nd GR GE jae ale alie 5 D 5 415 co 415 5 92 5 5 6 U 6 U 6 U 6 U 6 U 6 U 415 415 415 92 5 92 41 15 AUX JI AUK pon SRL EQ EQ y EQ y OJE EQ y Ci ER E a 0 0 4 3 gt 2 3 1 12k 12k 5 M5 5 M5 p 15 M5 Lag d S ISS 15 15 15 15 pand 15 15 15 2 5k i d 400Hz GROUPS TALKBACK ax LEVEL 7 aie x Se lt gt VL 0 PUSH Ke TO TALK AUX 1 4 MAIN MAIN MIX 10 Es 10 8 a 10 8 10 8 10 8 EM 10 8 10 B8 10 l8 10 Fa z gt 12 12 12 12 gt 12 12 5 20 8 Ed e 2 8 20 8 2 8 Eed be 2 gt 8 CH at 34 34 gt 34 mc 34 34 0 30 8 30 8 30 40 Es 40 ES 40 Es 40 ES 40 Es 40 Es 40 8 40 Es 4o Es 40 Fa 50 8 50 8 50 8 50 8 50 8 so gt DH Es 50 50 E 50 eo wr eo g r eoo Ng wr joo B vs enz wr eo lM9 wr eo 9 0 Te co Bl o o 8 gt lt gt oo co B 6 6 o
60. ld be another line level source not just an effects processor If you are connecting a mono source use the left mono stereo return input and the mono signals will appear on both sides of the main mix 6 TAPE INPUTS OUTPUTS The stereo unbalanced RCA inputs allow you to play a tape CD player iPod dock or other line level source The tape in jacks accept an unbalanced signal using standard hi fi hookup cables The stereo unbalanced RCA outputs allow you to record the main stereo mix onto a tape deck hard disk recorder or automatic CD burner for example This lets you make a recording for posterity archive legal purposes whenever the band gets back together again The tape output is the stereo main mix and it is not affected by the main mix level control 75 The output could also be used as an extra set of main outputs for feeding another zone TPSSEND RING RETURN pe eee E 4 2 je we s e 7 LEFT RIGHT MAIN OUTPUTS XLR amp 1 4 The male XLR connectors provide a balanced line level signal that represents the end of the mixer chain where your fully mixed stereo signal enters the real world Connect these to the left or right inputs of your main power amplifiers powered speakers or serial effects processor like a graphic equalizer or compressor limiter The XLR outputs are 6 dB hotter than
61. like an echo will also change if the channel level is changed keeping them in the same ratio wet dry 1 PHONES ne ENDING 23 24 2122 dd Be e dj e usus e e 99 999 TALKBACK 14 AUX INSERTS These 1 4 TRS jacks are for connecting serial effects such as compressors equalizers de essers or filters The insert point is after the mix amps but before the aux send masters 52 and the solo switch 60 so you may hear the external processor when soloing the aux send Refer to the description of the channel insert on page 11 to see how to make this connection 15 LEFT RIGHT MONITOR OUTPUTS These 1 4 TRS jacks provide a balanced line level signal that may be used to provide an additional main mix output or to monitor soloed channels Connect these outputs to the inputs of an amplifier powered speaker headphone distribution amplifier or recording device 16 MONO MONITOR OUTPUT This 1 4 TRS output connector provides a balanced line level signal that is a combination of the left and right monitor out 15 signals L R You may use this for a separate mix that does not require a stereo feed or to simply test the monaural compatibility of the stereo mix Connect these outputs to the inputs of an amplifier powered speaker headphone distribution amplifier or re
62. ll VLZ3 Ae Bus mono channels have 8 0210 EQ with shelving high peaking mid with adjustable mid frequency and shelving low The stereo channels have peaking hi mid and peaking low mid EQ controls in addition to the shelving high and shelving low EQ controls Shelving means that the circuitry boosts or cuts all frequencies past the specified frequency For example the low EQ boosts bass frequencies below 80 Hz and continuing down to the lowest note you never heard Peaking means that certain frequencies form a hill around the center frequency With too much EQ you can really upset things We ve designed a lot of boost and cut into each equalizer circuit because we know that everyone will occasion ally need that But if you max the EQ on every channel you ll get mix mush Equalize subtly and use the left sides of the knobs cut as well as the right boost If you find yourself repeatedly using a lot of boost or cut consider altering the sound source such as placing a mic differently trying a different kind of mic a different vocalist changing the strings or gargling 31 HIGH EQ The high EQ provides upto 15 dB of boost or cut above i 12 kHz and it is also flat no PI boost or cut at the detent Use it to add sizzle to cymbals o an overall sense of L L sch transparency or an edge to keyboards vocals guitar a
63. monaurally assuming Groups 1 and 2 have the same levels of signal Afl is a stereo solo bus so in afl mode soloing Group 1 by itself places the signal on the left Group 2 shows up on the right and soloing both yields a stereo image with Group 1 on the left and Group 2 on the right and each reduced by 3 dB not unlike using one of the channels pan pots to center the signal Groups 3 and 4 function similarly Solo signals reaching the headphones and monitor outputs are not affected by the channel level or main level therefore turn down the phones level 69 and monitor level 68 first as soloed channels may be loud VERY IMPORTANT The rude solo light 59 will turn on as a reminder that what you are listening to in the headphones is just the soloed group s 74 GROUP 1 4 FADERS As you might expect these faders control the levels of the signals sent to the group outs 11 All channels that are assigned to groups not muted and not turned fully down will appear at the group outs The group signal is off when its fader is fully down the U marking is unity gain and fully up provides 10 dB additional gain Remember that if you are treating two groups as a stereo pair group 1 and 2 for example make sure that both group faders ride together to maintain the left right balance 75 MAIN MIX This stereo fader allows you to adjust the levels of the main mix signals sent to the XLR and 1 4 main line level outputs
64. n mix to be recorded Any music iTunes mp3s or other pre recorded audio may be played back from the laptop as well These can enter as either a source for the monitor and phones or any available channels Typical Live Sound System Ww f Amplifier NS K modeler desTROYer on six string Mackie HRO24mk2 Francis i reward pee v on bass o E seit e lonitors Brian on 2 SH _ lead vox 5 Headphones Headphone Amp La Computer with audio production software Once the band has played a few shows and feel that the songs are up to par then it s time to record them for posterity and all three adoring fans The good thing is that the Mackie VLZ3 4 Bus mixer functions great in both environments live and recording Here is how to record the band in three easy steps 1 Drum tracking wire up everything as shown above Bus the kick panned left to subgroup 1 and snare panned right to subgroup 2 so they are recorded to their own tracks in the DAW They will show up on inputs 1 and 2 All four subgroup assign 1 2 Left Right switches should be engaged so these signals may be monitored in mono Bus the tom mics and overhead mics to subgroups 3 and 4 set the pans as preferred The subgroup assign 3 left and subgroup assign 4 right switches should be engaged These signals are recorded and monitored with the pan image a
65. nd bacon frying Turn it down a little to reduce sibilance or to mask tape hiss 32 MID EQ and 33 FREQ mono channels only The mono channels employ a semi parametric mid sweep EQ The gain upto 15dBof boost or cut is set viathe mid eq 32 and then aimed at a specific frequency from 100 Hz to 8 kHz via freq 33 34 LOW EQ The low EQ provides up to 15 dB of boost or cut below B 80 Hz The circuit is flat at the center detent position P This frequency represents the punch in bass drums bass 3 gt 100 the Oks 20k guitar fat synth patches and some really serious male singers who eat raw beef for breakfast 35 HIGH MID EQ LEVEL stereo channels only The high mid EQ provides up to 15 dB of boost or cut at 2 5 kHz and it is flat at the detent Midrange EQ is often thought of as the most dynamic because the frequencies that define any particular sound are almost always found within this range For example the female vocal range as well as the fundamentals and harmonics of many higher timbred instruments 36 LOW MID EQ LEVEL stereo channels only The low mid EQ provides up e to 15 dB of boost or cut at e 400 Hz and is flat at the detent Frequencies affect
66. nd route it to nearly any output or pair of outputs on the mixer To use this feature with a PC first download the PC ASIO driver from www mackie com If connecting to a Mac the mixer will show up as a 4x2 device with no driver required 23 24 222 1 NK 90255 ott STEREO RETURNS LES SESS sie The USB routing capabilities are as follows USB input TO the mixer playback 1 Stereo channel 23 24 on the 2404 VLZ3 and 31 82 on the 3204 VLZ3 features a USB button so one may route computer output such as iTunes down the last stereo channel of the board This stereo signal may then be EQ d sent to auxiliaries i e to feed monitors headphones or effects and is routable to mains and or subgroups via the fader routing features that are available on all other channels In short this signal may be sent to nearly any desired output or pair of outputs Additionally the gain knob at the top of this channel strip adjusts the USB input level to the mixer to achieve an optimal signal level 2 The 2 Track Return section features a flip switch so a Tape source connected via RCA cables such as an iPod or the USB signal from a computer playing Windows Media Player files for example may be routed to the main bus This section also features a solo button and input level adjustment for fading house music up and down
67. o not expose this apparatus to rain or moisture Johnny Boy screaming at Troy about deadlines 5 6 4 5 Loudest parts at a rock concert 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 mmm ie For more information about where you can drop off your waste equipment for recycling please contact your local city office waste authority or your household waste disposal service Quick Start IA NND We realize that you must be really keen to try out your new mixer Please read the safety instructions on page 2 then have a look through some of the features and details in this manual Setup Use the mixer in a nice clean and dry environment free from dryer lint and dust bunnies Zero the controls 1 Fully turn down all the knobs to minimum except for the channel EQ and pan controls which should be centered 2 Make sur
68. ows you to tap out the channel signal without interrupting normal operation If you push the 1A TS plug in to the second click you will open the jack switch and create a direct out which does interrupt the signal in that channel See Figure G NOTE Do not overload or short circuit the signal you are tapping from the mixer That will affect the internal signal MONO PLUG Det Channel Insert jack Direct out with no signal interruption to master Insert only to first click Vo MONO PLUG Ch Channel Insert jack Direct out with signal interruption to master Insert all the way in to the second click STEREO MOT PLUG Channel Insert jack For use as an effecte loop TIP SEND to effect RING RETURN from effect Figure G 30 Appendix C Technical Information Specifications Noise Characteristics 4 Band Equalization stereo channels Mic in to Insert Send out max gain 150 ohm termination 129 0 dBu 20 Hz 20 kHz bandwidth 1 4 Main out channel gains unity gain channel EQs flat all channels assigned to Main Mix odd channels panned left even channels panned right Main Mix fader unity channel faders down 2404 87 0 dBu 91 0 dB Signal to Noise Ratio ref 4 dBu 3204 84 5 dBu 88 5 dB Signal to Noise Ratio ref 4 dBu Main Mix fader unity channel faders unity 2404 81 5 dBu 3204 80 0 dBu Frequency Response Mic inp
69. power may be selected by pressing up on the mixer s phantom 21 switch y microphones or ribbon mics into the mic input jacks if phantom power is on Do not plug instrument outputs into the mic XLR input jacks with phantom power on unless you are certain it is safe to do so Never plug single ended unbalanced IMPORTANT 2 LINE INPUTS These 1 4 jacks share circuitry but not phantom power with the mic preamps and can be driven by balanced or unbalanced sources To connect balanced lines to these inputs use a 1 4 Tip Ring Sleeve TRS plug wired as follows Tip Positive or hot Ring Negative or cold Sleeve Shield or ground To connect unbalanced lines to these inputs use a VA mono TS phone plug wired as follows Tip Positive or hot Sleeve Shield or ground 13 23 24 21 22 20 NBA GALUNBA DE z 5 9 SS hore EN TP SEND RING RETURN We O06 900 o NEIN MIC 15 MIC 14 RPM Png re D ere OR MC Prg z D 5 OC POWER PHANTOM ON ON e Ca RIGHT INSERT 3 INSERT These unbalanced 1 4 jacks are for connecting serial effects processors such as compressors equalizers de essers or filters The insert point is after the gain control 23 and low cut filter 24 but before the channel s EQ 31 36 and level 43 The channel signal can go out of th
70. r extra thick drum tracks This preset is characterized by lots of fast early reflections Useful for adding a tight and controlled ambient effect to vocals and acoustic instruments Useful on vocals that require a brighter reverb to cut through the mix or for giving acoustic instru ments a livelier vibe Useful for vocals on songs that require a larger more wet sound or for giving dimension to bright horns without adding harshness Useful for vocals or guitars in fast paced high songs that call for a live sounding reverberation Perfect for vocals drums acoustic and electric guitars keyboards and more Great for adding life and dimension to drums and other acoustic instruments and for that big live vocal sound Perfect for adding natural concert hall ambience to close mic ed orchestral instruments Adds life to acoustic instruments and vocals from solos to full on symphonies and choirs Gives amazing depth to choirs wind instruments organs and soft acoustic guitars Most often used to fatten snare drums and toms without clutter Perfect for enhancement of electric and acoustic is useful for thickening and for making a particular sound guitar and bass or to add a dramatic effect to vocals particularly group harmonies and choirs This lets you both thicken your sound with the chorus effect while adding warmth and spacious ness thanks to the smooth reverb Provides a vibe that is sim
71. rces such as vocals sit properly in the mix it is very useful for live sound A CLOSER The compression ratio is fixed at around 6 1 with a soft knee response The threshold can be adjusted clockwise from off no compression to 0 dBu max As an example suppose the threshold is set to maximum An incoming signal reaches the threshold of 0 dBu As it increases beyond the threshold it becomes compressed at a ratio of 6 1 This means that even if the input further increases by 6 dB the actual output only increases by 1 dB This compresses the output signal so there is more protection to your system from distortion and overload due to poor microphone technique say it ain t so and general pops bangs and heavy metal screaming The soft knee means that the compression slowly ramps up to 6 1 from the threshold It does not jump abruptly to 6 1 as this would be hard knee compression and harder on the ears too The graph on this page shows the input signal level going into the compressor versus the output level coming out of it It is the typical graph to see when compressors are discussed and is just the kind of thing our engineers like to discuss during the company Christmas party If the compressor is off then the input output For example an input signal level of 5 dBu results in an output level of 5 dBu The diagonal line from lower left to upper right represents x y that is input output 5
72. re always pre fader designed for stage monitor applications Aux sends 3 4 may be set to pre or post fader so they may be used for monitors or effects Pre fader with the pre switch engaged pressed in not commited to marriage aux 3 and 4 deliver signals post insert post low cut post EQ post mute and pre fader Any changes made to the channel controls except the fader will affect the aux send signal Post fader with the pre switch disengaged up aux 3 and 4 deliver signals post insert post low cut post mute post EQ and post fader Any changes made to the channel controls will affect the aux send signal 16 29 INT FX 1 2 AUX SENDS 5 6 These controls have dual functions depending on what your needs are at any given time They allow you to send signal either to internal effects FX1 and FX2 or to aux 5 and aux 6 typically used for running stage monitors or external effects processors Aux Sends 5 6 or FX1 2 are post fader Any changes made to the channel controls will affect the signal going to the internal effects processors or to the aux 5 6 output jacks 13 Adjustments to the channel fader 43 gain 23 and channel EQ 31 36 will affect the feed going to the internal effects processors 30 INT FX AUX 5 6 Switch This switch determines if that channel s controls 29 above will be used for running the internal effects processors engaged or as aux 5 6 disengaged CHANNEL EQUALIZATION EQ A
73. refore levels may be mixed up or down in the DAW later depending on the needs of the recording versus the live show The end result is that fade ins and or fade outs made during the show do not affect recorded levels And finally it is possible to route the aux 5 6 again pre fader mixer signals into a DAW or plug in host From there re route the output of the DAW or plug in host back into the mixer Voil a powerful outboard effects unit E A computer s speed It needs to be fast enough to run at low buffer sizes so that there is no noticeable latency between the input signal and say the reverb return This kind of flexible routing allows for a variety of choices running aux 5 6 as effects sends to outboard gear internal effects sends native to the board DAW plug ins via USB or as monitor mix feeds a truly powerful feature Be sure to review the software requirements on www mackie com to confirm that the latest device drivers are currently in use Success here is partially dependent upon the 13 i 23 24 21 22 d n Be 06 iik Bees edh TALKBACK 19 TALKBACK MIC This is where you plug in your external talkback microphone if you need to have one You may use a dynamic or self powered condenser microphone 20 POWER Press the top of this rocker switch inwards to tu
74. rket LOUD warrants to Customer that the product will be free from defects in materials and workmanship under normal use during the Warranty Period If the product fails to conform to the warranty then LOUD or its authorized service representative will at its option either repair or replace any such nonconforming product provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at www mackie com support or by calling LOUD technical support at 1 800 898 3211 toll free in the U S and Canada during normal business hours Pacific Time excluding weekends or LOUD holidays Please retain the original dated sales receipt as evidence of the date of purchase You will need it to obtain any warranty service For full terms and conditions as well as the specific duration of the Warranty for this product please visit www mackie com warranty The Product Warranty together with your invoice or receipt and the terms and conditions located at www mackie com warranty constitutes the entire agreement and supersedes any and all prior agreements between LOUD and Customer related to the subject matter hereof No amendment modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written instrument signed by the party to be bound thereby Need help with your new mixer e Visit www mackie com and click Support to find FAQs manuals addendums and other useful informat
75. rn on the mixer The front panel power LED 57 will glow with happiness or at least it will if you have the mixer plugged into a suitable live AC mains supply Press the bottom of this switch to put the mixer into standby mode It will not function but some circuits are still live To remove AC power either turn off the AC mains supply or unplug the power cord from the mixer and the AC mains supply 4 mixer first before any external power amplifiers or powered speakers and turn it off last This will reduce the possibilities of any turn on or turn off thumps in your speakers As a general guide you should turn on your A CLOSER LOOK 21 48V PHANTOM POWER Most modern professional condenser mics require 48V phantom power which lets the mixer send low current DC voltage to the mic s electronics through the same wires that carry audio Semi pro condenser mics often have batteries to accomplish the same thing Phantom owes its name to an ability to be unseen by dynamic mics Shure SM57 SMDS for instance which don t need external power and aren t affected by it anyway Press this switch in if your microphone requires phantom power Always check the position of this switch before connecting microphones A red LED 56 will illuminate just above the main mix meters 58 to indicate that phantom power is active This is a global switch that affects all mic channels XLR jacks at once l4 E Never plug singl
76. rough the auxes Last but not least it may be used to return plug in effects from the DAW in a live mix scenario One of our favorites is the CamelPhat VST that makes your average drummer sound like Bonham on How The West Was Won Powerful on board dual FX engines and eight individual compressors In pursuit of the ultimate Mackie do it all Live Sound Mixer we threw in the kitchen sink and packed this bad boy with a full set of processors allowing you to travel rack free while still making professional sounding mixes For starters we added not one but TWO of our patented Running Man FX processors RMFX featuring 24 gig ready effects right into the board This does not include useless effects such as the warbler or the insanity delay but rather a suite of quickly accessible and useable reverbs choruses and delays that make coloring your mix a breeze Additionally both FX processors feature a tap delay typically only available on an outboard rack Delays may easily be sync d with the song at the tap of a finger And because we love flexible routing hehe the processed signal may be sent direct to the mains and monitors from the effects section or re routed to the two stereo channels to bring them through the EQ and aux section utilizing the 60mm fader to draw them into the mix But wait there s more The VLZ3 4eBus has eight yes eight single knob compressors to stop the dynamic signals from poking out of
77. s etc You may find the answer to the problem without having to send your mixer away Troubleshooting Bad Channel e Is the channel EQ set up nicely e Is the channel gain set correctly e 15 the channel level up enough e 165 the channel OL led on e 15 the channel pan set in the middle e Try the same source signal in another channel set up exactly like the suspect channel e Is phantom power required for your microphone Bad Output e Is the main level turned up e Are the EQs set to reasonable levels e Are any aux returns maxed out 9 Unplug anything from the other line level outputs such as monitor out just in case one of your external pieces has a problem e Make sure that you are not overdriving your amplifiers Check the loudspeaker average load impedance is not less than the minimum your amplifier can handle Check the speaker wiring 28 VLZ34 Noise e Turn the channel gains down one by one If the sound disappears it s either that channel or whatever is plugged into it so unplug whatever that is If the noise disappears it s from your whatever Power The power LED should come on if the mixer is connected to a suitable live AC mains outlet and the power switch is on Check to make sure that the power cord is securely plugged in Repair For warranty service refer to the warranty information on page 38 Non warranty service for Mackie products is available at a factory authorized
78. s preset as shown in the list of presets silkscreened above Rotate the preset selector knob right or left to change a preset A new preset will be loaded approximately 1 4 of a second after you stop turning the knob and it will be stored into the FX memory after about one second When the VLZ3 Ae Bus mixer is turned on the FX section will load up the last used preset Affectionately referred to as the meat n potatoes d 60 D KA co i MAX PHONES TALKBACK co MAX TO MAIN GROUPS 65 PRESET SELECTOR TAP DELAY and LED Rotate these endless controls to select one of the 24 preset effects When the rotation stops that preset will be loaded and become operational The current preset number is shown in the display 64 The different presets are shown in the table below and on the silkscreen in the upper right hand corner of the VLZ3 4eBus mixer Further details of each preset are explained in Appendix E on page 37 The knob also offers a tap delay function for presets 17 24 This works as follows Plate Reverb Vocal Plate Warm Room Bright Room Warm Lounge Small Stage Warm Theater Bright Stage 9 Warm Hall Concert Hall 2 1 Plate Reverb Vocal Plate 3 WamRoom Li Bright Room 5 Warm Lounge 6 Small Stage 7 Warm Thea
79. s set up on the mixer and will show up as inputs 3 and 4 Check the levels carefully as they cannot be mixed later The drums now need to be mixed in the DAW before overdubbing takes place 2 Overdubbing first route the stereo USB return into the last stereo channel 23 24 or 31 32 depending on which VLZ3 4 8 5 is being utilized Next route the stereo channel to the L R Main so playback occurs in the headphones Now route the bass to the L R Main by sending the bass mic panned left to subgroup 1 and input 1 to track 5 of the DAW while sending the bass DI panned right to subgroup 2 and input 2 to track 6 of the DAW Finally engage the subgroup assign 1 and 2 Left Right switches to hear the bass in mono Congratulations you are overdubbing with zero latency 3 Rinse and repeat follow these same steps for guitars keyboards vocals kazoos llamas and whatever else you can fit in the studio It s that easy As the session progresses the engineer band producer A amp R representative and whatever posse may be present can crank the tunes through a pair of Mackie HR824mk2 s and nod their collective heads to the beat Typical Recording System 8 VLZ3 4eBus Features Rear Panel Connections MICINPUTS This is a female XLR connector that accepts a balanced mic or line level input from almost any type of source The mic preamps feature our XDR2 design with
80. set to show where the level should be when adjusting a channel s gain 23 in the solo mode as described in Set the Levels on page 3 When 0 dBu 0 775 V is at the main left and right TRS outputs 7 it shows as 0 dB on the meters You can get a good mix with peaks flashing anywhere between 20 and 10 dB on the meters Most amplifiers clip at about 10 dBu and some recorders aren t so forgiving either For best real world results try to keep your peaks between 0 and 6 Remember audio meters are just tools to help assure you that your levels are in the ballpark You don t have to stare at them unless you want to 59 RUDE SOLO Light This large red LED flashes when one or more solo switches are engaged 41 49 58 55 73 This acts as a reminder that what you hear in the control room and headphones is the soloed channel s 2 track return stereo return aux es and or group s If you forget that you are in solo mode you can easily be tricked into thinking that something is wrong with your mixer Hence the rude solo light Please forgive its rudeness it is only trying to help and wants to be your friend 60 SOLO MODE Engaging a channel s solo switch 41 will cause this dramatic turn of events Any existing source selection is immediately replaced by the solo signal appearing at the monitor outputs 15 16 phones 17 and at the left meter 58 left and right meters when in AFL solo mode
81. take home a copy of the live show These levels are also pre main fader Therefore levels may be mixed up or down in the DAW later depending on the needs of the recording versus the live show The end result is that fade ins and or fade outs made during the show do not affect recorded levels And finally it is possible to route the aux 5 6 again pre fader mixer signals into a DAW or plug in host From there re route the output of the DAW or plug in host back into the mixer Voila a powerful outboard effects unit E Success here is partially dependent upon the 4 CH computer s speed It needs to be fast enough 8 to run at low buffer sizes so that there is no noticeable latency between the input signal and say the reverb return This kind of flexible routing allows for a variety of choices running aux 5 6 as effects sends to outboard gear internal effects sends native to the board DAW plug ins via USB or as monitor mix feeds a truly powerful feature Be sure to review the software requirements on www mackie com to confirm that the latest device drivers are currently in use Appendix E Table of Effects Presets No Tile Description Example of its use This preset emulates vintage mechanical reverberation Plate Reverb that was generated with a metal plate Its sound is char acterized by lots of early reflections and no pre delay Vocal Plate DT a Bright Room a Small Stage i a Bright
82. ter S Bright Stage 1 1 Use the knob to select a preset from 17 to 24 2 Pressthe knob in at least two times The DSP processor will calculate the time delay between the last two pushes and it will assign this time interval to the echoes of the current digital delay The minimum tap delay is 50 ms and the maximum is 500 ms e fyour taps are faster than 50 ms they will be set to 50 ms e ftaps are 500 ms to 1 second they will be set to 500 ms e Hong are greater than 1 second apart they will be ignored Try again a bit faster 3 The LED will flash in time with the new tap delay time 66 INTERNAL FX MUTE When engaged the internal effects processor is muted and its output will not appear on the main mix monitor mix or anywhere for that matter The adjacent mute LED will come on as a reminder that the effects are muted When power is first applied these LEDs will illuminate and the FX will be muted for about 10 seconds while the little FX gerbils inside settle down If this switch is not engaged then the internal effects are set free and may be added as required to the main mix monitor mix and last two stereo channels 67 SOLO LEVEL This knob is used to adjust the volume of the soloed signal as it is routed to the monitor 15 16 and phones 17 outputs This control is independent of and prior to the monitor 68 and phones 69 level controls 25 68 MONITOR LEVEL This knob is used
83. the mix Four compressors are located on the last four mic inputs so that the most critical signals such as vocals snare drum the occasional jaw harp or mountain goats may be addressed Plus there are single knob compressors on each of the four subgroups so that grouped signals such as a drum set or a choir of didgeridoos may be blended together for paramount smoothness Bottom line You have an awesome mixer with Mackie VLZ3 sound quality built like a tank build quality and a recording and processing feature set that is unparalleled Congratulations and happy mixing Features Proven VLZ3 low noise high headroom design e Studio grade XDR2 mic preamps e 13008 dynamic range e Distortion under 0 0007 20 Hz 20 kHz e Phantom power for studio condenser mics e 4 subgroups each with dedicated compressors for total dynamic control Dedicated in line channel compression for critical inputs e 3 band active EQ with carefully selected frequency ranges for maximum flexibility e Dual 32 bit RMFX processors featuring 24 gig ready effects including reverb delay and chorus e Integrated 4x2 24 bit USB interface e Stream subgroups or master L R to your laptop for recording Use your favorite plug in live via auxes 5 6 9 Convenient stereo return for music playback from laptop during breaks e 6 aux sends with inserts 1 2 pre 3 4 pre post switchable 5 6 switchable to internal effects e 18dB oct 100 Hz low
84. ut to any output 20 Hz to 50 kHz 0 dB 1 dB 20 Hz to 100 kHz 0 dB 3 dB Distortion THD N 1 kHz 15 dB gain 20 Hz 20 kHz bandwidth Mic in to insert send 0 00196 Mic in to Main Out 0 00596 Attenuation and Crosstalk 1 kHz relative to 10 dBu 20 Hz 20 kHz bandwidth Mic in 1 4 Main Out Gain unity Channel Mute switch engaged 90 dBu Channel Fader down 88 dBu Common Mode Rejection Ratio CMRR Mic in to Insert Send out max gain 1 kHz better than 70 dB Maximum Input and Output Levels Mic in 21 89 All other inputs 21 89 Main Mix XLR out 27 dBu All other outputs 21 dBu 3 Band Equalization mono channels Low 15 dB 80 Hz Mid 15 dB sweep 100 Hz 8 kHz High 15 dB 12 kHz Low Cut Filter 18 dB octave 3 dB 100 Hz Low 15 dB 80 Hz Low Mid 15 dB 400 Hz High Mid 15 dB 2 5 kHz High 15 dB 12 kHz USB Format USB 1 1 1 0 Stereo Input 4 Channel Output A D A 24 bit 44 1 kHz 48 kHz Input and Output Impedance Mic in 2 7 kQ Channel Insert return 2 5 kQ All other inputs 10 kQ or greater Tape out 10 0 All other outputs 120 Q AC Power Requirements 55 watts 2404 VLZ3 65 watts 3204 VLZ3 100 VAC 240 VAC 50 60 Hz Power Consumption Universal AC Power Supply Physical Dimensions and Weight Front Height 1 8 in 46 3 mm both Rear Height 6 0 in 153 mm both Depth 19
85. witch is depressed E Remember to turn the FX processor level E controls to aux 1 2 and main all the way down Cl to avoid double bussing the FX return See Appendix E page 37 for a list of the effects provided and a description of each one 45 USB Switch The USB switch on the last stereo channel provides stereo playback of iTunes or a DAW via the USB connection Like any other input this signal may also be EQ d sent to an aux bus or mixed in with the other signals and assigned to subgroups or main outs This switch overrides both the TRS inputs 5 and the FX2 switch 44 2 TRACK RETURN USB OU CH jh 3 4 TAPE GRP1 24 GRP 3 4 E USB MAIN LR AUX5 6 amp 56 LEFT RIGHT 20 10 7 65 FO E 0 2 4 e 675 Lever 10 S one 0 0 dB 0 dBu RUDE SOLO STEREO RETURNS SOLO MODE PEL 8 2 Track USB Aux Masters and Meters This section includes the 2 track returns USB aux masters and stereo returns and the meters A 4x2 USB recording and playback function is at your disposal This means up to four signals may be recorded simultaneously and a stereo mix returned to the mixer for playback The six auxes receive signals from the channels via the channel aux sends 27 29 Auxes 1 4 may also be fed from stereo returns 1 2 54 and talkback 70 71 and aux 1 2 m
86. y down low Applying low cut removes all those problems so you can add low EQ without blowing your subwoofers Another way to consider low cut s function is that it actually adds flexibility during live 25 PAD 20 dB Switch In most cases the pad switch will be disengaged However microphones and balanced line level signals that produce a higher output than usual may require that the gain control 23 is turned way down If this is the case engage the pad switch to allow an additional 20 dB at the input to the mic preamp This prevents overloading the microphone preamp and provides better gain control The pad only applies to XLR inputs not the 1 4 TRS inputs 26 COMPRESSOR Each of the last four mono channels in the VLZ3 4eBus mixer has an in line compressor circuit with a variable threshold This is very useful for compression of vocals and snare drums for example so you might consider connecting your microphones and drum mics to these channels rather than other channels When the incoming signals exceed the threshold level set by this knob the signal level is automatically compressed This reduces the dynamic range and reduces the chance of distortion due to overloading the input signals S Dynamic range is the difference in level E between the quietest and loudest parts of a song A compressor squeezes the dynamic range resulting in an overall steadier more constant volume level for the signal It helps sou

Mackie VLZ3 4BUS DJ Equipment User Manual

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