1202VLZ4
12-Channel Compact Mixer
O W N E R ’ S M A N U A L
100-120V: 500mA/250 V SLO-BLO
220-240V: 250mA/250 V SLO-BLO
POWER ON
PHANTOM ON
WARNING:TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR
MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
SERIAL NUMBER
REVISION
AVIS: RISQUE DE CHOC ELECTRIQUE
—
NE PAS OUVRIR
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
MAIN
RIGHT
BALANCED
MAIN
LEFT
BALANCED
CONTROL
ROOM
ALT
OUT
CHANNEL INSERT
BAL / UNBAL
BAL / UNBAL
PRE-FADER / PRE EQ TIP SEND / RING RETURN
R
L
4 / R
3 / L
4
3
2
1
+4
MIC
CAUTION: TO REDUCE THE RISK OF FIRE
REPLACE WITH CORRECT TYPE FUSE. REMOVE
POWER CORD BEFORE CHANGING VOLTAGE.
MAIN
100VAC
120VAC 240VAC
OUT LEVEL
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES FOR THE U.S. AND THE ICES-003 FOR CANADA.
OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL
INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE
THAT MAY CAUSE UNDESIRED OPERATION.
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Contents
HOW TO USE THIS MANUAL.................................... 4
SPECIFICATIONS ............................................. 24
BLOCK DIAGRAM............................................ 25
TRACK SHEET.................................................. 26
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Part No. SW0970 Rev. B 08/14
©2014 LOUD Technologies Inc.
All Rights Reserved.
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Features
Introduction
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•
12-channel mixer featuring our signature
high-headroom, low-noise design
The 12-channel 1202VLZ4 delivers the outstanding
quality of our flagship Onyx preamps in a compact mixer
design with the high-headroom/low-noise performance
your professional application demands.
4 boutique-quality Onyx mic preamps
• Ultra-wide 60 dB gain range
• 128.5 dB dynamic range
From every input to every output, you can count on
the industry-proven performance you expect from a
VLZ mixer. Plus, it is truly “Built-Like-A-Tank” with a
ridiculously rugged solid-steel chasis plus high-contrast
controls for ultimate tactile control.
• +22 dBu line input handling
• Extended frequency response
• Distortion under 0.0007% (20 Hz - 50 kHz)
•
Improved RF rejection, perfect for broadcast
applications
And with features like a dedicated control room
section, the 1202VLZ4 offers a true step up in flexibility
and performance that's ideal for your professional
application.
•
•
•
•
Phantom power for condenser mics
12 high-headroom line inputs
3-band EQ (80 Hz, 2.5 kHz, 12 kHz)
18 dB/oct 75 Hz low-cut filter on mic input
channels
How To Use This Manual
•
•
Aux send, level, pan and PFL solo on each
channel
After the introduction, a getting started guide will
help you get things set up fast. These are followed by
hookup diagrams which show some typical setups.
Stereo return for connecting FX processor
or other stereo source
Next is a detailed tour of the entire mixer.
The descriptions are divided into sections, just
as your mixer is organized into distinct zones:
•
•
•
•
•
ALT 3/4 stereo bus for added routing flexibility
Control room / phones source matrix
High-resolution 12-segment stereo meters
Sealed rotary control resist dust and grime
•
•
•
Patchbay
Channel Strip
Output Section
“Built-Like-A-Tank” rugged steel chassis with
powder-coat finish
Throughout these sections you’ll find illustrations
with each feature numbered and described in nearby
paragraphs.
•
•
•
High-visibility, high-contrast controls deliver
convenient “at-a-glance” visual feedback
Rack-mountable design using an optional rack
ear kit
This icon marks information that is critically
important or unique to the mixer. For your own
good, read them and remember them.
Multi-voltage power supply for worldwide use
This icon will lead you to some explanations
of features and practical tips. They usually
have some valuable nuggets of information.
Need help with your mixer?
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps
(Monday through Friday, normal business hours, Pacific Time).
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Set the levels
Getting Started
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.
We realize that you must be really keen to try out
the mixer. Please read the safety instructions on page
2, then have a look through some of the features and
details in this manual.
1. Turn on the mixer by pressing the top edge of
the power switch.
Setup
2. For one channel, press the solo switch in, and
the rude solo light will turn on.
Use the mixer in a nice clean and dry environment,
free from dryer lint and dust bunnies.
3. Play something into that input at real-world
levels.
Zero the controls
4. Adjust that channel's gain control until the
right main meter stays around the 0 dB LED
(marked “level set”) and never goes higher
than “+7.”
1. Fully turn down all the knobs to minimum,
except for the channel EQ and pan controls,
which should be centered.
5. Disengage the channel's solo switch.
2. Make sure all buttons are in the out position.
6. Repeat steps 2 to 5 for the remaining channels.
7. Turn up the channel level knob to the “U” mark.
Connections
8. Slowly turn up the main mix knob until you
hear the signals in the headphones.
1. Make sure the AC power switch is off before
making any connections.
9. If needed, apply some channel EQ wisely.
WARNING: Before plugging the AC power
cord into the mixer, make sure the VOLTAGE
SELECTOR switch is set to the same voltage
as the local AC mains supply (see page 12).
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.
2. Push the linecord securely into the IEC
connector on the rear panel, and plug it into a
3-prong AC outlet. The mixer may accept any
AC voltage ranging from 100 VAC to 240 VAC.
Things to Remember
3. Plug a balanced microphone into one of the mic
XLR (3-pin) connectors. Or connect any
line-level signal (keyboard, or guitar preamp)
to a line input jack using a TS or a TRS
1/4" plug.
•
Never listen to loud music for prolonged
periods. Please see the Safety Instructions on
page 2 for information on hearing protection.
•
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.
4. If your microphone requires phantom power,
turn on the 48V phantom power button.
5. All mono channels have insert jacks that can be
used to connect an external effects or dynamics
processor into the signal chain.
•
•
Always turn down the main mix level and
control room/submix levels when making
connections
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.
to the mixer. Better yet, turn off the power.
When shutting down, turn off any power
amplifiers or powered speakers first. When
powering up, turn them on last. This will
reduce the chance of turn-on or turn-off
thumps.
•
Save the shipping box!
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Hookup Diagrams
Multi Effects Processor
Digital Delay
Condenser
microphones
Laptop
Direct
Boxes
Headphones
Stereo
Guitar
Effects
Headphone amp
Synth
Stereo Compressor
Mono Compressor
Electronic Drum Kit
MR8mk3
studio monitors
This diagram shows microphones connected to the mic inputs of channels 1 and 2, and a vocal
compressor connected to the channel 1 insert jack. Bass and electric guitars are attached to channels
3 and 4 via DI boxes with a stereo compressor on the insert. The lead guitar plays through a stereo
effects processor plugged into channels 5 and 6. An electronic drum kit is connected to channels 7
and 8, while a synth is connected to the line inputs of channels 9 and 10.
The audio outputs from a laptop computer are connected to the RCA tape inputs. This allows you to
playback your recordings made using the DAW of your choice. The Alt 3-4 outputs are used to feed the
inputs to your computer's sound card. By pressing a mute/alt 3-4 switch, it is easy to set up a channel to
record onto your computer.
A headphone amplifier is connected to the headphones output, and feeds four pairs of headphones
while a pair of MR8mk3 powered studio monitors are connected to the control room outputs.
You can use this setup to record overdub style:
1. For the track being recorded, route it to the alt 3-4 output, which feeds the computer input.
2. Monitor just the previously-recorded tracks through the tape input, which will feed the control
room/phones.
3. Since only the currently-recorded track is feeding the computer (through alt 3-4), you will hear the
previous tracks you are overdubbing to, but they will not be recorded to each new track.
4. The control room/phones is fed by a mixture of alt 3-4 (currently recorded track) and tape in
(output of your DAW playing back previously-recorded tracks).
Recording System
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Condenser
microphones
DLM8 Stage Monitors
Multi Effects Processor
Direct
Boxes
Stereo
Guitar
Effects
Mono EQ
Mono Power Amplifier
iPodTM
Electronic Drum Kit
DLM8 loudspeakers
Docking Station
Headphones
Synth
Stereo Compressor
Mono Compressor
DLM12S subwoofers
Stereo
EQ
This diagram shows microphones connected to the mic inputs of channels 1 and 2, and a vocal
compressor connected to the channel 1 insert jack. Bass and electric guitars are attached to channels
3 and 4 via DI boxes with a stereo compressor on the insert. The lead guitar plays through a stereo
effects processor plugged into channels 5 and 6. An electronic drum kit is connected to channels 7
and 8, while a synth is connected to the line inputs of channels 9 and 10. An iPodTM docking station
is connected to the tape RCA inputs, so you can play pre-recorded music during the breaks.
A multi-effects processor is connected to aux send 1, with the aux send set to post-level. Effects are
added to the main mix via the stereo return inputs, and adjusted with the stereo return level control.
To use the aux send for stage monitors instead of an effects processor, set the aux to pre-level so the
monitor volume level can be adjusted independently from the main loudspeakers. This setup may easily
be configured to become a mono PA setup: (A) Stereo sources should feed the left mono side of the
channel input only, (B) pan each channel hard left, (C) connect the mono PA system to the left main out.
The main mix output connects to a stereo graphic EQ before connecting to a pair of DLM12S powered
subwoofers which are connected to a pair of DLM8 powered loudspeakers to please your audience.
Live Stereo PA System
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Patchbay Description
1
2
3
4
5
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level instruments
and effects, headphones, and the ultimate destination
for your sound: PA system, DAW, etc.
Phantom Power
Most modern professional condenser mics are
equipped for phantom power, which lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics often have batteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
be “unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need external power and aren’t
affected by it anyway.
See Appendix B for further details and drawings of
the connectors you can use with the 1202VLZ4. Also see
the channel strip description on page 13 for details of
the signal routing from the XLR and line inputs.
1. Mic Ins (Channels 1–4)
The 1202VLZ4’s phantom power is globally controlled
by the phantom [22] switch on the rear panel. (This
means the phantom power for channels 1-4 is turned on
and off together.)
This is a female XLR connector that accepts a
balanced mic or line level input from almost any type
of source. These Onyx mic preamps feature higher
fidelity and headroom rivaling any standalone mic
preamp on the market today. These circuits are
excellent at rejecting hum and noise.
Never plug single-ended (unbalanced)
microphones or instruments into the mic [1]
input jacks if the phantom power is on.
The XLR inputs are wired as follows:
Pin 1 = Shield or ground
Do not plug instrument outputs into the mic
input jacks with phantom power on, unless
you know for certain it is safe to do so.
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
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.
2. Line Ins (Channels 1–4)
These four line-inputs share circuitry (but not
phantom power) with the mic preamps, and can be
driven by balanced or unbalanced sources at almost
any level.
Microphone-level signals are passed through the
mixer's splendid microphone preamplifiers to become
line-level signals.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, wired as follows:
Tip = Positive (+ or hot)
Not every instrument is made to connect directly
to a mixer. Guitars commonly need a Direct Injection
(DI) box to connect to the mixer's mic inputs. These
boxes convert unbalanced line-level signals from your
guitar, into balanced mic-level outputs, and provide
signal and impedance matching. They also let you send
your gifted guitar renditions over long cables or audio
snakes, with minimum interference and high-frequency
signal loss. Ask your dealer or guitar maker about their
recommendations for a good DI box.
Ring = Negative (– or cold)
Sleeve = Shield or ground
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug, wired as follows:
Tip = Positive (+ or hot)
Sleeve = Shield or ground
The line in inputs 1–4 are a good place to connect
older instruments that need more gain. You can correct
weak levels by adjusting the corresponding channel’s
gain control.
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3. Low Cut (Channels 1–4)
5. Stereo Line Ins
(Channels 5–6, 7–8, 9–10 And 11–12)
Each low cut switch, often referred to as a high pass
filter (all depends on how you look at it), cuts bass
frequencies below 75 Hz at a rate of 18 dB per octave.
These fully balanced inputs are designed for stereo
or mono, balanced or unbalanced signals, from –10 dBV
to +4 dBu. They can be used with just about any
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.
professional or semi-pro instrument, effect or CD player.
In the stereo audio world, an odd-numbered
channel usually receives the “left signal.” For example,
you would feed the 1202VLZ4’s line inputs 5-6 a stereo
signal by inserting the device’s left output plug into
the channel 5 jack, and its right output plug into the
channel 6 jack.
Another way to consider low-cut’s function
is that it actually adds flexibility during live
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.
Applying low-cut removes all those problems, so
you can add low EQ without blowing your subwoofers.
When connecting a mono device (just one cord),
always use the left (mono) input (jacks 5, 7, 9 or 11)
and plug nothing into the right input (jacks 6, 8, 10 or
12)— this way the signal will appear on both sides. This
trick is called “jack normalling.”
6. Imaginary Control
This control is purely a figment of our imagination. It
will come in handy after long hours of mixing, when you
really would like a nice cup of tea, a vacation in Hawaii,
or a trip to the outer reaches of the Solar System. This is
the control for you. Be thankful you bought a 1202VLZ4.
We love you, man!
Here’s what the combination of low EQ and low-cut
looks like in terms of frequency curves:
+15
+15
+10
+10
+5
0
+5
0
Effects: Serial Or Parallel?
–5
–5
The next two sections toss the terms “serial” and
“parallel” around like hacky sacks. Here’s what we mean
by them:
–10
–15
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
100Hz
1kHz
10kHz 20kHz
Low Cut with Low EQ
Low Cut
“Serial” means that the entire signal is routed through
the effects device. Examples: compressor/limiters,
graphic equalizers. Line-level sources can be patched
through a serial effects device before or after the mixer,
or preferably through the insert jacks located on the
rear panel (channel insert [17] send/return).
4. Gain (Channels 1–4)
If you haven’t already, please read the level-setting
procedure on page 5.
Gain adjusts the input sensitivity of
the mic and line inputs connected
to channels 1 through 4. This allows
signals from the outside world to be
adjusted to optimal internal operating
levels.
Insert
Send
Insert
Return
Signal Processor
(e.g., Compressor)
Processed
Signal
Dry Signal
“Parallel” means that a portion of the signal in the
If the signal originates through the XLR jack, there
mixer is tapped off to the device (aux send), processed
will be 0 dB of gain with the knob fully down, ramping to and returned to the mixer (stereo return) to be mixed
60 dB of gain fully up.
with the original “dry” signal. This way, multiple
channels can all make use of the same effects device.
Examples: reverb, digital delay.
Through the 1⁄4" input, there is 20 dB of attenuation
fully down and 40 dB of gain fully up, with a “U” (unity
gain) mark at 10:00. This 20 dB of attenuation can be
very handy when you are inserting a very hot signal, or
when you want to add a lot of EQ gain, or both. Without
this “virtual pad,” this scenario might lead to channel
clipping.
Aux
Aux
Output
Section
Send
Return
Signal Processor
(e.g., Reverb)
Wet Signal
Mix
Processed
Signal
Stage
Channel Path
Dry Signal(s)
Dry Signal(s)
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7
8
9 10 11
12
Use these jacks for convenient tape playback of your
7. Stereo Returns
This is where to connect the outputs of parallel
effects devices (or extra audio sources). These
mixes. You’ll be able to review a mix and then rewind
and try another pass without repatching or disturbing
the mixer levels. You can also use these jacks with
a portable CD player to feed music to a PA system
between sets.
balanced inputs are similar to the stereo line in [2]
inputs (without EQ, aux sends, pan, mute, and solo).
The circuits will handle stereo or mono, balanced or
unbalanced signals, either instrument level, –10 dBV
or +4 dBu. They can be used with just about any pro
or semipro effects device on the market. The signals
coming into these inputs can be adjusted using the
stereo return [40] knobs before passing onto the
main mix bus, see page 19.
WARNING: Engaging both the tape and assign
to main mix buttons in the control room
source [33] matrix can create a feedback
path between tape input and tape output. Make sure
your tape deck is not in record, record-pause, or input
monitor mode, when you engage these switches, or
make sure the control room / submix [34] level knob
is fully counterclockwise (off).
One device: if you have just one parallel effects device
(two cords), use stereo return 1 and leave stereo return
2 unplugged. that way, the unused stereo return 2 level
control can be used to feed stereo return 1 to your stage
monitors, via the return to aux 1 [41] switch.
10. Tape Out
These unbalanced RCA connections tap the main
mix output to make simultaneous recording and PA
work more convenient. Connect these to your recorder’s
inputs. (See also main mix [32] on page 16.)
Mono device: if you have an effects device with a
mono output (one cord), plug that into stereo return 1,
l/mono, and leave stereo return 1, right, unplugged.
This way the signal will be sent to both sides, magically
appearing in the center as a mono signal. This won’t
work with stereo return 2 — you’ll need a Y-cord.
Mono out: If you want to feed a mono signal to your
tape deck or other device, simply use an RCA Y-cord to
combine these outputs. Do not attempt this with any
other outputs on the 1202VLZ4.
8. Aux Send 1&2
11. 1/4" Main Outs
The aux send [31] knobs tap a portion of each
channel's signal to provide an output here to feed
external parallel effects processors or stage monitoring.
See the aux send details on page 15.
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 [13], but 6 dB lower when the
XLR is used balanced.
These 1⁄4" jacks are balanced outputs capable
of delivering 22 dBu into a 600 ohm balanced or
unbalanced load.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, wired as follows:
Tip = Positive (+ or hot)
9. Tape In
These RCA jacks are designed to work with semipro
as well as pro recorders. To compensate for typically
low levels, signals coming in here will be automatically
boosted by 6 dB.
Ring = Negative (– or cold)
Sleeve = Shield or ground
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug, wired as follows:
Tip = Positive (+ or hot)
Connect your tape recorder’s outputs here, using
standard hi-fi (RCA) cables.
Sleeve = Shield or ground
10
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13
14
15
16
17
These balanced outputs are capable of delivering 22
dBu into a 600 ohm balanced or unbalanced load.
12. Headphones Out
This stereo jack will drive any standard headphone
to very loud levels. To learn how signals are routed
to these outputs, see source matrix [33] on page 16.
If you’re wiring your own cable for the phones output,
follow standard conventions:
16. Alt 3–4 Outs
These 1⁄4" outputs are the sum of any channels that
have the mute/alt 3-4 [25] switch pressed in (see page
13 for the tender details).
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
These balanced outputs are capable of delivering
22 dBu into a balanced or unbalanced load.
WARNING: When we say the headphone
amp is loud, we’re not kidding. It can cause
17. Channel Insert (Channels 1–4)
permanent ear damage. Even intermediate
These rear-panel jacks are where you connect serial
effects such as compressors, equalizers, de-essers,
or filters. Since most people don’t have more than a
few of these gadgets, we’ve included inserts for just
the first four channels. If you want to use this kind
of processing on channels 5 through 12, simply patch
through the processor before you plug into
the 1202VLZ4.
levels may be painfully loud with some earphones.
BE CAREFUL! Always turn the ctl room/ submix [34]
knob all the way down before connecting headphones.
Keep it down until you’ve put the phones on. Then turn
it up slowly. Why? “Engineers who fry their ears find
themselves with short careers.”
13. XLR Main Outs
Use these to send the main mix out into the line-level
balanced inputs of your amplifier or powered speakers.
The channel insert points are after the gain [4]
and low cut [3] controls, but before the channel’s
EQ [27] and level [23] controls. The send (tip) is
low-impedance (120 ohms), capable of driving any
line-level device. The return (ring) is high-impedance
(over 2.5 k ohms) and can be driven by almost any
device.
These low-impedance outputs are fully balanced
and capable of driving +4 dBu lines with up to 28 dB
of headroom. This output is 6 dB hotter than other
outputs.
SEND to processor
ring
tip
(TRS plug)
tip
sleeve
14. XLR Main Out Level Switch
This plug connects to one of the
mixer’s Channel Insert jacks.
Engaging this switch reduces the level of the
balanced XLR main outputs by 40 dB, so you can
feed the microphone input of, say, another mixer.
(You can safely connect the XLR outputs into an
input that provides 48V phantom power.)
ring
RETURN from processor
See Appendix B for details and drawings about insert
cables, and a diagram showing three ways to use the
jacks.
Besides being used for inserting external devices,
these jacks can also be used as channel direct outputs;
post-gain, post-low cut, and pre EQ. In fact, our Onyx
mic preamps have become so famous, that people buy
these mixers just to have four of these in their arsenal.
15. Control Room Outs
These 1⁄4" outputs are provided so you can listen
to something other than the main mix. The source
is selected using the source matrix [33] switches
(see page 16). You can choose to listen to the main mix,
the alt 3-4 stereo bus (see mute/alt 3-4 on page 13),
soloed channels, or the tape input. The volume is
adjustable with the control room/submix [34]knob.
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21 22
18
19
20
18. Power Connection
21. Power Switch
Just in case you lose the cord provided with the
1202VLZ4, its power jack accepts a standard 3-prong
IEC cord like those found on most professional
recorders, musical instruments, and computers.
Press the top of this rocker switch inwards to turn on
the mixer. The power LED on the top surface of the mix-
er will glow with happiness, or at least it will if you have
the mixer plugged in to a suitable live AC mains supply.
WARNING: Before plugging the AC power
cord into the 1202VLZ4, make sure that
the voltage selector [20] slide switch is
Press the bottom of this switch to put the mixer into
standby mode. It will not function, but the 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.
set to the same voltage as the local AC mains supply.
WARNING: Disconnecting the plug’s ground
pin can be dangerous. Don’t do it.
As a general guide, you should turn the mixer on first,
before the power amplifier or powered speakers, and
turn it off last. This will reduce the possibilities of any
turn-on, or turn-off thumps in your speakers.
19. Fuse
The 1202VLZ4 is fused for your (and its own)
protection. If you suspect a blown fuse, disconnect
the AC mains power cord, pull the fuse drawer out
(located just below the cord receptacle) and replace
the fuse with a 500 mA (0.5 amps) SLO BLO 5x20mm,
available at electronics stores or your dealer. Use a
250 mA fuse if the local voltage is 220-240 VAC.
22. Phantom Switch
This global rocker switch controls the phantom power
supply for condenser microphones plugged into channel
mic [1] inputs (see page 8).
Press the top of the switch inwards to engage
phantom power to the four mic inputs. Press the
bottom of the switch to turn it off.
If two fuses blow in a row, something is very wrong.
Please call our toll-free number 1-800-898-3211 from
within the U.S. (or the distributor in your country) and
find out what to do.
When turned on (or off), the phantom power
circuitry takes a few moments for voltage to ramp
up (or down). This is perfectly normal. Just like me.
Oh, and my imaginary friend Lazlo who helps me write
all the manuals. Say hello to the nice folks Lazlo.
20. Voltage Selector
WARNING: Before plugging the AC power
cord into the 1202VLZ4, make sure that the
voltage selector [20] slide switch is set to the
same voltage as the local AC mains supply. Only slide
the voltage switch with the power cord unplugged.
Use a flat headed screwdriver to slide the switch
if needed. The switch allows you to use the mixer
in different countries and voltages, meet interesting
people from other cultures, and entertain them with
your unique blend of Rockabilly Funkadelia Thrash
Metal.
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Channel Strip Description
The eight channel strips look alike, and function
identically. The only difference is that the four on the
left are for individual mics or mono instruments and
have more gain available, while the next four are for
either stereo or mono line-level sources. (Each of the
stereo channel strips is actually two complete circuits.
The controls are linked together to preserve stereo.)
We’ll start at the bottom and work our way up…
check out what a particular channel is up to anytime
during a session. You can solo as many channels at
a time as you like.
Solo is also the key player in the level-setting
procedure on page 5.
Soloed channels are sent to the source mix, which
ultimately feeds your control room, phones and meter
display. Whenever solo is engaged, all source selections
(main mix, alt 3-4 and tape) are defeated, to allow the
soloed signal to do just that — solo!
“U” Like Unity Gain
VLZ4 mixers have a “U” symbol on almost every level
control. This “U” stands for “unity gain,” meaning no
change in signal level. Once you have adjusted the input
signal to line-level, you can set every control at “U” and
your signals will travel through the mixer at optimal
levels. What’s more, all the labels on our level 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.
WARNING: Pre-fader solo taps the
channel signal before the level knob.
If you have a channel’s level knob set below
“U” (unity gain), solo won’t know that and will send
a unity gain signal to the control room, phones and
meter display. That may result in a startling level boost
at these outputs.
25. Mute/Alt 3–4
You won’t have to check it
here and check it there, as you
would with some other mixers.
In fact, some don’t even have any
reference to actual dB levels
at all! You were smart — you're
using a 1202VLZ4.
The dual-purpose mute/alt 3–4 bus is our signature.
When Greg was designing our first product, he had to
include a mute switch for each channel. Mute switches
do just what they sound like they do. They turn off the
signal by “routing” it into oblivion. “Gee, what a waste,”
Greg reasoned. “Why not have the mute button route the
signal somewhere else useful… like a separate stereo
bus?” So mute/alt 3–4 really serves two functions —
muting (often used during a mixdown or live show), and
signal routing (for multitrack and live work) where it
acts as an extra stereo bus.
23. Level
This adjusts the channel’s
level… from off, to unity gain
at the detent, on up to 12 dB
of additional gain.
To use this as a mute switch, all you have to do is
not use the alt 3–4 [16] outputs. Then, whenever you
press this switch, you will assign a channel to these
unused outputs, disconnecting it from the main mix,
and effectively muting the channel.
The level knob is the
equivalent of a channel fader,
so sometimes we lapse and say
the word fader.
To use this as an alt 3–4 switch, all you have to do is
connect the alt 3–4 outputs to whatever destination you
desire. Here are two popular examples:
Channels 1 through 4 use mono
controls, and channels 5 through
12 use stereo controls, and so
they may feel slightly different.
Not a problem.
25
When doing multitrack recording, use the alt 3–4
outputs to feed your multitrack. With most decks, you
can "mult" the alt 3–4 [16] outputs, using Y-cords or
mults, to feed multiple tracks. So, take alt output L and
send it to tracks 1, 3, 5 and 7, and alt output R and send
it to tracks 2, 4, 6 and 8. Now, tracks that are in record
or input modes will hear the alt 3–4 signals, and tracks
in playback or safe modes will ignore them.
24
23
24. Pre-Fader Solo
This lovable switch allows
you to hear signals through
your headphones or control
room without having to route
them to the main mix or alt 3-4
mix. You don’t even have to have
the channel’s level [23] knob
When doing live sound or mixdown, it’s often handy
to control the level of several channels with one knob.
That’s called subgrouping. Simply assign these channels
to the alt 3–4 mix, engage alt 3–4 in the source [33]
matrix, and the signals will appear at the control room
turned up. Folks use solo in live work to preview
channels before they are let into the mix, or to just
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[15] and phones [12] outputs. If you want the alt 3–4
signals to go back into the main mix, engage the assign
to main mix [36] switch, and the control room/submix
[34] level control becomes the one knob to control the
levels of all the channels assigned to alt 3–4.
Constant Loudness ! ! !
The 1202VLZ4’s pan controls employ a design called
“Constant Loudness.” It has nothing to do with living
next to an all-night disco. As you turn the pan [26] knob
from left to right (thereby causing the sound to move
from the left to the center to the right), the sound will
appear to remain at the same volume (or loudness).
Another way to do the same thing is assign the
channels to the alt 3–4 mix, then patch out of the
alt 3–4 output [16]back into an unused stereo channel
line input [2]. If that’s your choice, don’t ever engage
the mute/alt 3–4 switch on that stereo channel, or you’ll
have every dog in the neighborhood howling at your
feedback loop.
If you have a channel panned hard left (or right) and
reading 0 dB, it must dip down about 4 dB on the left
(or right) when panned center. To do otherwise (the
way Brand X compact mixers do) would make the sound
appear much louder when panned center.
Another benefit of the alt 3–4 feature is that it can
act as a “SIP” (Solo-In-Place): just engage a channel's
mute/alt 3–4 switch and the alt 3–4 switch in the source
matrix and you’ll get that channel, all by itself, in the
control room and phones.
3-Band EQ
The 1202VLZ4 has 3-band equalization at carefully
selected points — low shelving at 80 Hz, mid peaking
at 2.5 kHz, and hi shelving at 12 kHz. “Shelving” means
that the circuitry boosts or cuts all frequencies past the
specified frequency. For example, rotating the low EQ
knob 15 dB to the right boosts bass starting at 80 Hz and
continuing down to the lowest note you never heard.
“Peaking” means that certain frequencies form a “hill”
around the center frequency — 2.5 kHz in the case of
the mid EQ.
Mute/alt 3–4 is one of those controls that can
bewilder newcomers, so take your time and play
around with it. Once you’ve got it down, you’ll
probably think of a hundred uses for it!
26. Pan
Pan adjusts the amount of
31
channel signal sent to the left
versus the right outputs. On
mono channels (ch. 1–4 or 5–12
with connections to the L input
only) these controls act as pan
pots. On stereo channels (5–12)
with stereo connections to L and
R inputs, the pan knob works like
the balance control on your home
stereo.
27. Low EQ
This control gives you
up to 15 dB boost or cut
below 80 Hz. The circuit is
flat (no boost or cut) at the
center detent position. This
frequency represents the
punch in bass drums, bass
+15
30
+10
+5
0
29
28
27
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Low EQ
guitar, fat synth patches,
and some really serious
male singers.
+15
Pan determines the fate of
the main mix and alt 3–4 mix.
With the pan knob hard left,
the signal will feed either main
out L (bus 1) or alt output L
(bus 3), depending on the
position of the alt 3–4 switch.
With the knob hard right, the
signal feeds main out R (bus 2)
or alt output R (bus 4).
+10
+5
0
Used in conjunction with
the low cut [3] switch,
you can boost the low EQ
without injecting a ton of
subsonic debris into the
mix.
–5
–10
–15
26
20Hz
100Hz
1kHz
10kHz 20kHz
Low EQ with Low Cut
28. Mid EQ
+15
+10
Short for “midrange,”
this knob provides 15 dB
of boost or cut, centered
at 2.5 kHz, also flat at the
center detent. Midrange
EQ is often thought of as
the most dynamic, because
the frequencies that define
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Mid EQ
any particular sound are almost always found in this
range. You can create many interesting and useful EQ
changes by turning this knob down as well as up.
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Each aux send level ranges from off through unity
(the center detent position) on up to 15 dB of extra gain
(when turned fully clockwise). Chances are you’ll never
need this extra gain, but it’s nice to know it’s there if
you do.
29. Hi EQ
This control gives you up
to 15 dB boost or cut above
12 kHz, and it is also flat
at the detent. Use it to
add sizzle to cymbals,
and an overall sense of
transparency, or edge to
keyboards, vocals, guitar
and bacon frying. Turn it
+15
+10
+5
0
–5
Channel 5–12 aux knobs control the mono sum of the
channel’s stereo signals for each aux send. For instance,
channel 5 (L) and 6 (R) mix together to feed that
channel’s aux send knobs.
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
High EQ
We recommend going into a stereo reverb in mono and
returning in stereo. We have found that on most “stereo”
reverbs the second input just ties up an extra aux send
and adds nothing to the sound. There are exceptions,
so feel free to try it both ways. If your effects device is
true stereo all the way through, use aux 1 to feed its left
input and aux 2 to feed the right input.
down a little to reduce sibilance, or to hide tape hiss.
Moderation During EQ
With EQ, you can also screw things up royally.
We’ve designed a lot of boost and cut into each
equalizer circuit, because we know everyone will
occasionally need that. But if you max the EQs 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). Very few gold-record-album engineers
ever use more than about 3 dB of EQ. If you need more
than that, there’s usually a better way to get it, such as
placing a mic differently (or using a different kind of
mic entirely).
Still with us? Good for you. Here come the tricky
parts, the output or master section where the mixing is
really done. We have even started it on a new page:
30. Aux 2 Send
31. Aux 1 Send
These knobs allow you to tap a portion of each
channel signal out to another source for parallel
effects processing or stage monitoring. Aux send
levels are controlled by these knobs and by the
aux 1 master [39].
These are more than just effects and monitor sends.
They can be used to generate separate mixes for
recording or “mix-minuses” for broadcast. By using
aux 1 in the pre mode, these mix levels can be obtained
independently of the channel’s level control.
Aux 1 in post mode and aux 2 are post-low cut,
post-EQ and post-level. That is, the sends obey the
settings of these controls. Aux 1 in pre mode follows
the EQ and low cut settings only. Pan and level have
no effect on the pre send (see diagram below).
LEVEL
PAN
MAIN / ALT
INPUT
GAIN
LO CUT
INSERT
EQ
"POST" SIGNAL OBEYS
MUTE STATUS
AUX 2 KNOB
“Pre vs. Post”
Signal Flow Diagram
TO AUX SEND 2 LEVEL
TO AUX SEND 1 LEVEL
"POST" SIGNAL
AUX 1 KNOB
"PRE" SIGNAL
AUX SEND 1 PRE/POST SWITCH
(IN MASTER SECTION)
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Output Section
33. Control Room Source Matrix
Typically, the engineer sends the main mix to an
audience (if live) or a mixdown deck (if recording). But
what if the engineer in the control room needs to hear
something other than the main mix? With the 1202VLZ4,
the engineer has several choices of what to listen to.
This is one of those tricky parts, so brace yourself.
Via these source switches, you can choose to listen
to any combination of main mix, alt 3-4 and tape.
By now, you probably know what the main mix is.
Alt 3-4 is that additional stereo mix bus. Tape is the
stereo signal coming in from the tape input [9] jacks.
33
37
Selections made in the source matrix deliver stereo
signals to the control room, phones and meter display.
With no switches engaged, there will be no signal at
these outputs and no meter indication.
The exception is the solo function. Regardless of the
source selection, engaging a channel’s solo [24] switch
will replace that selection with the solo signal, also sent
to the control room, phones and right meter (the left
meter becomes inactive). This is what makes the
level-setting procedure so easy to do.
36
34
35
32
WARNING: Engaging both the tape and
assign to main mix [36] buttons can create
a feedback path between tape input [9] and
tape output [10]. Make sure your tape deck is not in
record, record-pause, or input-monitor mode when you
engage these switches, or make sure the control room /
submix [34] level knob is fully counterclockwise (off).
Now you know how to select the signals to send to the
engineer’s control room or phones. From there, these
signals all pass through the same level control:
32. Main Mix
This knob controls the levels of signals sent to the
main outputs: XLR [13] and 1⁄4" [11] and RCA tape
output [10]. All channels and stereo returns [7] that
are not muted or turned fully down will wind up in the
main mix.
34. Control Room/Submix
This knob controls the levels of both the stereo
control room [15] and phones [12] outputs. The control
range is from off through unity gain at the detent, with
10 dB of extra gain (when turned fully clockwise).
Fully counterclockwise is off, the center detent
is unity gain, and fully clockwise provides 12 dB of
additional gain. This additional gain will typically never
be needed, but once again, it’s nice to know it’s there.
This is the knob to turn down at the end of the song
when you want The Great Fade-Out.
When main mix is your control room source selection,
those signals will now pass through two level controls
on the way to your control room amp and phones — the
main mix [32] knob and this control room / submix
knob. This way, you can send a nice healthy level to the
main output (main mix knob at “U”), and a quiet level
to the control room or phones (control room / submix
knob wherever you like it).
When alt 3-4 or tape is selected, or solo [24] is
engaged, the control room / submix knob will be the
only one controlling these levels (channel controls
not withstanding).
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Whatever your selection, you can also use the control
room [15] outputs for other applications. Its sound
quality is just as impeccable as the main outs [11 and
13]. It can be used as additional main mix output, which
may sound silly since there are already three, but this
one has its own level control. However, should you do
something like this, be sure that you do not engage a
solo switch, as that will interrupt your source selection.
36. Assign To Main Mix
Let’s say you’re doing a live show. Intermission is
nearing and you’ll want to play a soothing CD for the
crowd to prevent them from eating the furniture.
Then you think, “But I have the CD player plugged into
the tape inputs, and that never gets to the main outs!”
Oh, but it does. Simply engage this switch and your
control room source selection, after going through
the control room / submix [34] knob, will feed into
the main mix, just as if it were another stereo channel.
A Word About Pre-Fader Solo (PFL)
Engaging a channel’s solo [24] switch will cause
this dramatic turn of events: Any existing control room
source selections will be replaced by the solo signal,
appearing in the control room, headphones, and in the
right meter. The audible solo levels are then controlled
by the control room / submix [34] knob. The solo levels
appearing on the right meter display are not controlled
by anything — you wouldn’t want that. You want to see
Another handy use for this switch is to enable the
alt 3-4 mix to become a submix of the main mix, using
the control room/submix knob as its level control.
Side effects: (1) Engaging this switch will also feed
any soloed channels into the main mix, which may be
the last thing you want. (2) If you have main mix as
your control room source selection and then engage
the actual channel level on the meter display regardless assign to main mix, the main mix lines to the control
of how loud you’re listening.
room will be interrupted to prevent feedback. Then
again, why would anyone want to assign the main mix
to the main mix?
“Pre-fader” solo means that the channel signal is
being tapped before the channel’s level [23] knob
(not really a fader in this case, but we were afraid
you’d laugh if we called it pre-knob solo). It does,
however, obey gain [4], low cut [3] and EQ [27]
37. Meters – Many Displays In One!
The 1202VLZ4’s peak metering system is made up
settings, making it the perfect tool for quick inspections of two columns of twelve LEDs. Deceptively simple,
of suspect channels. The channel’s pan [26] and mute/
alt 3-4 [25]settings have no effect on the solo signal.
considering the multitude of signals that can be
monitored by it.
Note: For stereo channels 5-12, the solo signal is
the mono sum of the left (odd-numbered) and right
(even-numbered) signals for that channel strip.
If nothing is selected in the source matrix and
no channels are in solo, the meters will just sit there
and do nothing. To put them to work, you must make a
selection in the source matrix (or engage a solo switch).
WARNING: Pre-fader solo [24] taps
the channel signal before the level knob.
If you have a channel’s level knob set below
“U” (unity gain), solo won’t know that, and will send
a unity gain signal to the control room, phones and
meter display, that may result in a startling level boost
at these outputs.
Why? You want the meter display to reflect what the
engineer is listening to, and as we’ve covered, the
engineer is listening either to the control room [15]
outputs or the phones [12] outputs. The only difference
is that while the listening levels are controlled by the
control room / submix [34] knob, the meters read the
source mix before that control, giving you the real facts
at all times, even if you’re not listening at all.
35. Rude Solo Light
This flashing Light Emitting Diode serves two
purposes — to remind you that at least one channel
is in solo, and to let you know that you’re mixing on
a 1202VLZ4. No other company is so concerned about
your level of solo awareness. If you work on a mixer
that has a solo function with no indicator lights, and
you happen to forget you’re in solo, you can easily be
tricked into thinking that something is wrong with your
mixer. Hence the rude solo light. It’s especially handy
at about 3 a.m. when no sound is coming out of your
monitors but your multitrack is playing back like mad.
Thanks to the 1202VLZ4’s wide dynamic range,
you can get a good mix with peaks flashing anywhere
between –20 and +10 dB on the meters. Most
amplifiers clip at about +10 dB, and some recorders
aren’t so forgiving either. For best real-world results,
try to keep your peaks between “0” and “+7”.
You may already be an expert at the world of “+4” (+4
dBu=1.23 V) and “–10” (–10 dBV=0.32 V) operating
levels. Basically, what makes a mixer one or the other
is the relative 0 dB VU (or 0 VU) chosen for the meters.
A “+4” mixer, with a +4 dBu signal pouring out the back
will actually read 0 VU on its meters. A “–10” mixer,
with a –10 dBV signal trickling out, will read 0VU on its
meters. So when is 0 VU actually 0 dBu? Right now!
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At the risk of creating another standard, 1202VLZ4
These outputs can be fed to the inputs of a reverb or
mixers address the need of both crowds by calling things other device. From there, the outputs of this external
as they are — 0 dBu (0.775 V) at the output shows as
0 dB VU on the meters. What could be easier? By the
way, the most wonderful thing about standards is that
there are so many to choose from.
device are fed back to the mixer’s stereo return [7]
jacks. then these signals are sent through the stereo
return [40] level controls, and finally delivered to the
main mix.
Remember, audio meters are just tools to help assure
So, the original “dry” signals go from the channels
you that your levels are “in the ballpark.” You don’t have to the main mix and the affected “wet” signals go from
to stare at them (unless you want to).
the stereo return [7] to the main mix, and once mixed
together, the dry and wet signals combine to create
a glorious sound. So, armed with this knowledge,
let’s visit the Auxiliary World:
A Word About Aux
First of all, there is no particular alliance between
aux send 1 (or 2) and stereo return 1 (or 2). They’re
just numbers. They’re like two complete strangers.
38. Pre Or Post (Aux 1)
Besides being used to work effects into your mix, aux
sends serve another critical role — that of delivering
cue mixes to stage monitors, so musicians can hear what
they’re doing. On the 1202VLZ4, aux send 1 can play
either role, depending on the position of this switch.
Sends are outputs, returns are inputs. The channel
aux [30 and 31] knobs tap the signal off the channel
and sends it to the aux send [8] outputs. Aux 1 signal is
sent to the aux 1 master [39] knob before going to the
aux send 1 [8] output and the aux 2 signal goes directly
to the aux send 2 [8] output.
With this switch up (disengaged), aux send 1 will
tap a channel pre-fader (level) and pre-mute/alt 3-4,
meaning that no matter how you manipulate those
controls as they feed the main mix, the aux send will
continue to belt out that channel’s signal. This is the
preferred method for setting up stage monitor feeds.
EQ settings will affect all aux sends.
39
41
40
With the switch down, the aux send 1 becomes
an ordinary effects send — post-fader (level) and
post-mute/alt 3-4. This is a must for effects sends,
since you want the levels of your “wet” signals to
follow the level of the “dry.”
38
39. Aux 1 Master
This knob provides overall level control of aux send 1,
just before it’s delivered to the aux send 1 [8] output.
(Aux send 2 has no such control.) This knob goes from
off (turned fully down), to unity gain at the center
detent, with 10 dB of extra gain (turned fully up).
As with some other level controls, you may never need
the additional gain, but if you ever do, you’ll be glad you
bought a 1202VLZ4.
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 suit that
if the singer stuck his thumb down, you’d turn the knob
down… but that never happens.)
40. Stereo Returns
These two controls set the overall level of effects
received from stereo return [7] inputs 1 and 2. These
controls are designed to handle a wide range of signal
levels, from off, to unity gain at the detent, with 20 dB
gain fully clockwise, to compensate for low-level effects.
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Typically, these knobs can just live at the center
detent, and the effects device’s output control should
be set at whatever they call unity gain (check their
manual). If that turns out to be too loud or too quiet,
adjust the effects device’s outputs, not the mixer.
That way, the mixer’s knobs are easy to relocate
at the center detent.
Jack Normalling
Jack normalling (not to be confused with Jack
Normalling, Chicago Cubs utility infielder, 1952-61,
.267 LBA) is a feature found on almost every mixer,
keyboard and effects device. These jacks have special
spring-loaded pins that connect to the signal pins,
but when something is plugged into the jack, that
connection is broken.
Signals passing through these controls will proceed
directly to main mix, with one exception (see paragraph
below). The stereo returns do not have mute/alt 3-4
switches, so if you want these signals to get to the alt 3-4
mix, you’ll have to patch the effects device’s outputs into
one of the stereo channels, and mute/alt those channels.
These normalling pins can be used in all sorts of
ways. The ubiquitous phrase “left (mono)” means that
if you plug a signal into the left side and have nothing
in the right side, that signal is also fed to the right
input, courtesy of jack normalling. As soon as you plug
something in the right side, that normalled connection
is broken.
41. Return To Aux 1
If you want to add reverb or delay to the stage monitor
mixes of aux 1, this is the switch for you.
How does all this relate to the
return to aux 1 [41] switch? Stereo
return 1’s inputs are normalled to
stereo return 2. If you have one
effects device, plug it into stereo
return 1. Plug nothing into stereo
return 2. Now the signals feeding
the stereo return 1 inputs will also be sent to the stereo
return 2 inputs.
With the switch up, stereo return 1 and 2 behave
normally — they deliver their signals into the main
mix. With the switch down, stereo return 1 still behaves
normally, but stereo return 2 will feed aux send 1
instead of the main mix.
Still with us? Good. So far, with the switch down, we
have stereo return 1 feeding the main mix and stereo
return 2 feeding aux send 1. Now, suppose you only have
one effects device, and you want it to feed both the main
mix and aux send 1. That’s where “jack normalling”
comes in:
Engage the return to aux 1 switch, and now the stereo
return 2 knob will become an additional aux send 1
knob for the signal at aux return 1. Say that ten times
fast! Once again, aux return 1 will behave normally, as
always.
Congratulations! You’ve just read about all the
features of your 1202VLZ4. You’re probably ready for
a cold one. Go ahead. The rest of the manual can wait.
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Appendix A: Service Information
If you think your 1202VLZ4 has a problem, please
check out the following troubleshooting tips and do
your best to confirm the problem. Visit the Support
you will find lots of useful information such as FAQs
and other documentation. You may find the answer
to the problem without having to send your mixer away.
Repair
For warranty service, refer to the warranty
information on page 27.
Non-warranty service is available at a factory-
authorized service center. To locate the nearest
Tech Support” and select “Locate a Service Center
or Distributor” [3]. Service for a 1202VLZ4 living
outside the United States may be obtained through
local dealers or distributors.
Troubleshooting
Bad Channel
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.
•
Is the mute/alt 3–4 switch in the correct
position?
•
•
Is the level knob turned up?
Try unplugging any insert devices (channels
1–4 only).
•
Try the same source signal in another channel,
set up exactly like the suspect channel.
Bad Output
•
•
Is the associated level knob (if any) turned up?
If it’s one of the main outs, try unplugging all
the others. For example, if it’s the 1⁄4" left main
out, unplug the RCA and XLR Left outputs. If
the problem goes away, its not the mixer.
•
If it’s a stereo pair, try switching them around.
For example, if a left output is presumed dead,
switch the left and right cords, at the mixer
end. If the problem switches sides, it’s not the
mixer.
Appendix B: Connections
Noise
Balanced XLR Input Connector
•
Turn the channel level and aux return knobs
down, one by one. If the sound disappears, it’s
either that channel or whatever is plugged
into it, so unplug whatever that is. If the noise
disappears, it’s from your whatever.
The 1202VLZ4 mixer has four female XLR
inputs. Be sure the cables are wired per AES
(Audio Engineering Society) standards:
Balanced XLR Input Connector
Pin 1 – Shield (Ground)
Pin 2 – Positive (+ or hot)
Pin 3 – Negative (– or cold)
Power
•
Unplug the power cord and check the fuse.
2
SHIELD
HOT
1
3
COLD
SHIELD
COLD
HOT
1
3
2
Balanced XLR Input Connector
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accept 1-plug-type stereo microphones. They
must be separated into a left cord and a right
cord, which are plugged into the two mic
preamps.
Balanced XLR Output Connector
The male XLR connectors provide a balanced line-
level signal that represents the end of the mixer, where
the fully mixed stereo signal enters the real world.
Connect these to the left and right line-level inputs
of powered speakers or to the left and right line-level
inputs of an amplifier (with speakers already attached).
Be sure the cables are wired per AES (Audio
You can cook up your own adapter for a stereo
microphone. “Y” two cables out of a female 1⁄4"
TRS jack to two male XLR plugs, one for the
right signal and one for the left.
•
Unbalanced send/return circuits. When wired
as a 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).
Engineering Society) standards:
Balanced XLR Output Connector
Pin 1 – Shield (Ground)
Pin 2 – Positive (+ or hot)
Pin 3 – Negative (– or cold)
Unbalanced 1/4" TS Connector
SHIELD
1
TS stands for Tip-Sleeve, the two connections
available on a mono 1⁄4" cable. This allows for a direct
conection to the channel input jacks. Be sure the cables
are wired per AES (Audio Engineering Society)
standards:
3
COLD
3
2
HOT
SHIELD
COLD
HOT
1
2
Unbalanced 1/4" TS Connector
Balanced XLR Output Connector
Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
Balanced 1/4" TRS Connector
SLEEVE
SLEEVE
TIP
TRS stands for Tip-Ring-Sleeve, the three connections
available on a stereo 1/4" cable. This allows for a direct
connection to the channel input jacks. Be sure the
cables are wired per AES (Audio Engineering Society)
standards:
TIP
TIP
SLEEVE
Unbalanced 1/4" TS Connector
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:
Balanced 1/4" TRS Connector
Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
Ring – Negative (– or cold)
•
•
•
Unbalanced microphones
RING SLEEVE
SLEEVE RINGTIP
Electric guitars and electronic instruments
Unbalanced line-level connections
TIP
RING
TIP
Switched 1/4" Phone Jacks
SLEEVE
Switches can be incorporated into 1⁄4" phone jacks,
which are activated by inserting the plug. These
switches may open an insert loop in a circuit, change
the input routing of the signal or serve other functions.
The 1202VLZ4 uses switches in the channel insert and
bus insert jacks, input jacks and stereo returns. It also
uses these switches to ground the line-level inputs when
nothing is plugged into them.
Balanced 1/4" TRS Connector
TRS jacks and plugs are used in several different
applications:
•
Balanced mono circuits. When wired as a
balanced connector, a 1⁄4" TRS jack or plug
is connected tip to signal high (hot), ring to
signal low (cold), and sleeve to ground (earth).
In most cases, the plug must be inserted fully to
activate the switch. The 1202VLZ4 takes advantage of
this in some circuits, specifying circumstances where
you are to insert the plug only partially. See “Special
Connections”, on the next page.
•
Stereo Headphones, and rarely, stereo
microphones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug
is connected tip to left, ring to right and sleeve
to ground (earth). VLZ4 mixers do not directly
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Unbalanced RCA Connector
TRS Send/Receive Insert Jacks
RCA-type plugs (also known as phono plugs)
and jacks are often used in home stereo and video
equipment and in many other applications. RCA plugs
are unbalanced. Connect the signal to the center post
and the ground (earth) or shield to the surrounding
“basket.” Be sure the cables are wired per AES (Audio
Engineering Society) standards:
Single-jack inserts are three-conductor, TRS-type 1⁄4"
phone. They are unbalanced, but have both the mixer
output (send) and the mixer input (return) signals in
one connector. See the illsutration below.
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.
Unbalanced RCA Connector
Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
SEND to processor
ring
tip
(TRS plug)
tip
sleeve
SLEEVE
TIP
SLEEVE
TIP
This plug connects to one of the
mixer’s Channel Insert jacks.
ring
RETURN from processor
Unbalanced 1/4" Insert Connectors
Unbalanced RCA Connector
Special Connections
Unbalancing a Line
The balanced-to-unbalanced connection has been an-
ticipated in the wiring of 1202VLZ4 jacks. A 1⁄4" TS plug
inserted into a 1⁄4" TRS balanced input, for example,
will automatically unbalance the input and make all the
right connections. Conversely, a 1⁄4" TRS plug inserted
into a 1⁄4" unbalanced input will automatically tie the
ring (low or cold) to ground (earth).
In most studio, stage and sound reinforcement situ-
ations, there is a combination of balanced and unbal-
anced inputs and outputs on the various pieces of
equipment. This usually will not be a problem in making
connections.
•
When connecting a balanced output to an
unbalanced input, be sure the signal high (hot)
connections are wired to each other, and that
the balanced signal low (cold) goes to the
ground (earth) connection at the unbalanced
input. In most cases, the balanced ground
(earth) will also be connected to the ground
(earth) at the unbalanced input. If there are
ground-loop problems, this connection may be
left disconnected at the balanced end.
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 VLZ4 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 allows you to tap out the channel or bus signal
without interrupting normal operation.
•
When connecting an unbalanced output to a
balanced input, be sure that the signal high
(hot) connections are wired to each other. The
unbalanced ground (earth) connection should
be wired to the low (cold) and the ground
(earth) connections of the balanced input. If
there are ground-loop problems, try connecting
the unbalanced ground (earth) connection only
to the input low (cold) connection, and leaving
the input ground (earth) connection discon-
nected.
If you push the 1⁄4" 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 the
illustration on the next page.
•
In some cases, you will have to make up special
adapters to interconnect your equipment. For
example, you may need a balanced XLR female
connected to an unbalanced 1⁄4" TS phone
plug.
22
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NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
VLZ4 Stereo Inputs and Returns:
Mono, Stereo, Whatever
Stereo line inputs and stereo returns are a fine
example of our philosophy (which we just made up)
of Maximum Flexibility with Minimum Headache.
The inputs and returns will automatically be mono
or stereo, depending upon how you use the jacks.
Here’s how it works:
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first click.
A mono signal should be patched into the input
or return jack labeled left (mono). The signal will
be routed to both the left and right sides of the return
circuit, and will show up in the center of the stereo pair
of buses it’s assigned to, or it can be panned with the
pan [26] control.
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second click.
A stereo signal, having two plugs, should be patched
into the left (mono) and the right input or return jacks.
A jack switch in the right jack will disable the mono
function, and the signals will show up in stereo.
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(Tip = Send TO effect, Ring = Return FROM effect).
A mono signal connected to the right jack will show
up in the right bus only. You probably will only want to
use this sophisticated effect for special occasions.
Using the Send Only on an Insert Jack
Mults and “Y”s
A mult or “Y” connector allows you to route one output
to two or more inputs by simply providing parallel
wiring connections. You can make “Y”s and mults for
the outputs of both unbalanced and balanced circuits.
Remember: Only mult or “Y” one output into
several inputs. If you need to combine several
outputs into one input, you must use a mixer,
not a mult or a “Y.”
Y-cord splitter cable
RING (IN)
RING
TIP
(RETURN) (SEND)
RING (RETURN)
TIP (OUT)
TO MIXER
CHANNEL INSERT
FROM
PROCESSOR
OUTPUT
TO
PROCESSOR
INPUT
TIP (SEND)
Y-cord insert cable
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Appendix C: Technical Information
Fuse Rating
100-120V:
500 mA slo blo, 5 x 20 mm
250 mA slo blo, 5 x 20 mm
Specifications
220-240V:
Main Mix Noise
(20 Hz–20 kHz bandwidth, 1/4" Main out, channels 1–4 Trim @
unity gain, channel EQs flat, all channels assigned to Main Mix,
channels 1 and 3 Pan left, 2 and 4 Pan right.)
Dimensions (H x W x D)
10.7" x 11.9" x 3.0" (272 mm x 303 mm x 75 mm)
Weight
Main Mix knob down, channel Gain knobs down: –100 dBu
Main Mix knob unity, channel Gain knobs down: –86.5 dBu
(90 dB Signal to Noise Ratio, ref +4 dBu)
6.5 lb (3.0 kg)
Main Mix knob @ unity, channel Gain knobs @ unity: –84.5 dBu
Microphone Stand
Total Harmonic Distortion (THD)
(1 kHz @ 30 dB gain, 20 Hz–20 kHz bandwidth)
The bottom panel of
the 1202VLZ4 has three
non-threaded holes that
allow it to be fitted with
an optional microphone
stand adapter. This
Mic pre @ insert:
0.0007%
Holes for mic
stand adapter
Attenuation (Crosstalk)
allows you to support
the mixer on a standard
mic stand, and adjust
its height and level to
whatever suits your
strangely-complex set of
preferences.
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth,
Line in, 1⁄4" Main Out, Trim @ unity.)
Main Mix knob down:
–75 dBu
Channel Alt / Mute switch engaged:
Channel Gain knob down:
–85 dBu
–87 dBu
1. Order the Atlas
AD-11B mic
Frequency Response
Mic Input to Main Output (Gain @Unity)
bottom panel
stand adapter
available from
+0, –1 dB, 20 Hz to 50 kHz
many a fine music store. (It is made and distributed
by Atlas Sound.)
+0, –3 dB, <10 Hz to >100 kHz
2. Use three Trilobular thread rolling screws
6-32 x 1/4" long to secure the adapter to
the bottom of the 1202VLZ4 [see below].
Equivalent Input Noise (EIN)
(Mic in to Insert Send out, max gain.)
150 termination:
–128.5 dBu 20 Hz–20 kHz
Common Mode Rejection Ratio (CMRR)
(Mic in to Insert Send out, max gain.)
Do not use screws longer than 1/4", as these could
damage the circuit boards. Do not use screws
shorter than 1/4", or the adapter will not be securely
fixed to the mixer.
1 kHz:
better than –70 dB
Maximum Levels
Mic in:
3. Do not order the Atlas AD-11, as this is a pack
of 100. If you do, please send for the informative
booklet entitled 99 things to do with a mic stand
adapter.
+22 dBu
+16 dBu
+22 dBu
+28 dBu
+22 dBu
Tape in:
All other inputs:
Main Mix XLR out:
All other outputs:
Impedances
Mic in:
2.5 k
Channel Insert return:
All other inputs:
Tape out:
2.5 k
10 k or greater
1.1 k
120
All other outputs:
19.0 in / 483 mm
(optional Rack Mount Kit)
EQ
High Shelving
Mid Peaking
Low Shelving
15 dB @ 12 kHz
15 dB @ 2.5 kHz
15 dB @ 80 Hz
WEIGHT
6.5 lb
3.0 kg
11.9 in / 303 mm
10.7 in / 272 mm
Power Consumption
25 watts
24
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BlockDiagram
LOGIC
SOLO
AUX SEND 2 POST
AUX SEND 1 POST
AUX SEND 1 PRE
ALT R
ALT L
MAIN R
MAIN L
Since we are always striving to make our products better by
incorporating new and improved materials, components, and
manufacturing methods, we reserve the right to change these
specifications at any time without notice.
The “Running Man” figure is a registered trademark of
LOUD Technologies Inc. All other brand names mentioned
are trademarks or registered trademarks of their respective
holders, and are hereby acknowledged.
©2014 LOUD Technologies Inc. All Rights Reserved.
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Track Sheet
26
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1202VLZ4 Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.720trees.com to find contact
information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.720trees.com or by calling LOUD technical support at 1.800.898.3211 (toll-free in
the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD holidays.
Please retain the original dated sales receipt as evidence of the date of purchase. You will need it to obtain
any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.720trees.com.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located at
www.720trees.com constitutes the entire agreement, and supersedes any and all prior agreements
between LOUD and Customer related to the subject matter hereof. No amendment, modification or
waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written
instrument signed by the party to be bound thereby.
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16220 Wood-Red Road NE
Woodinville, WA 98072 • USA
Phone: 425.487.4333
Toll-free: 800.898.3211
Fax: 425.487.4337
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