Mackie 3204VLZ4 Instruction manual

Studio A & B
Mackie Audio Mixer Quick User guide
3204V4

VLZ4 4~Bus Features
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Rear Panel Connections
• Mic Ins
This is a female XLR connector that accepts a
balanced mic or line level input from almost any type
of source. These Onyx mic preanips feature higher
fidelity and headroom rivaling any slanrlalone mic
precimp on the market today. These circuits are
cxccllent at rejecting hum and noise.
The XIJR inputs are wired as follows:
Pin I = Shield or ground
Pin 2 = Positive + or hot
Pin 3 = Negative or cold)
Professional ribbon, dynamic, and c nd nser mica all
sound excellent through these inputs. The midline
inputs will handle any kind of level you can toss at
them, without overloading.
Microphone-level signals are passed through thc
mixer’s splendid microphone preamplifiers to become
line-level signals.
The Onyx prealflps accept balanced line level signals
because the mixer is equipped with a -20 dB pad on
channels 1-16 (2404VLZ4) and channels
1-24 (3204VLZ4) so hot signals may pass.
See Appendix B (page 31) for further details and
some rather lovely drawings of the connectors you can
use with your mixer.
Phantom Power
Most modern professional condenser mnics require
48V phantom power. ~hich lets the mixer send
lots-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics often have h ~tteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
he ‘unseen” by dynamic mics (Shure SM571SM58, for
instance), which don’t need external power and arent
affected by il anyway.
Phantom power may he selected by pressing up on the
mixer’s phantom [211 switch
~ Never plug single ended (unbalanced)
- microphones, or ribb n mics into the mic
input jacks if phantom power is on. Do not
plug instrument outputs into the mic XLR input jacks
with i hantom power on. unless you are certain it is safe
to do so.
2. Line Ins
These 1/4” jacks share circuitry (but not phantom
power) with the inic preainps, and can be driven by
balanced or unbalanced sources.
To connect balanced lines to these inputs, use a V4’
Tip-Ring-Sleeve (TRS) plug, wirerl as follows:
Tip = Positive (+ or hot)
Ring = Negative (— or cold)
Sleeve = Shield or ground
To connect unbalanced lines to these inputs, use a
1/4” mono (TS) phone plug, wired as follows.
Tip = Positive (+ or hot)
Sleeve Shield or ground
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3. Insert
These unbalanced 1 4 jacks are for connecting serial
etfrcts processors such as compressors, equalizers,
de-essers, r filters. The insert point is after the gain
control 231 and by, cut filter 24], hut before the
channel’s EQ 131-36] and level [43]. The channel signal
can go out of the insert jack to an external device, be
processed and come back in on the same insert jack. To
do this requires a standard insert cable that must be
wired thusly:
~ sleeve (TRS plug)
This phiQ connects to one of the [EEEEE]~E] ~
mocer’s c,hannel Insert jacks. REWAN From processor
Tip Send (output to elTects device)
Ring Return (input from effects device)
Sleeve Common ground
Insert jacks may be used us channel direct outputs;
post-gain, and pre-EQ. See the connector section on
page 30 (figure 0) showing three ways to use insert
cables.
4. Stereo Line Ins
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 dU 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.
5. Stereo Returns 1-2
The stereo (aux) returns are designed for 1/4” TRS
balanced or 1/4’ TS unbalanced signals, from -20dB to
+20 dB. They allow the stereo processed output from
external effects proce sors 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 could be
another line-level source, not just an effects process
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 Ins / Outs
The stereo unbalanced RCA inputs allow you to play
a CD player, iPod® dock, or other line-level source.
The tape in jacks accept an unbalanced signal using
standard hi-fl hookup cables.
The stereo unbalanced RCA outputs allow you to
record the tnain stereo mix onto a 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.
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7. Left/Right Maui Outs: XLR & 1/4”
The male XLR connectors provide a balanced
line-level signal that represents the end of the mixer
chain, where the 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 6dB
hotter than the TRS outputs.
The 1/4” TRS output connectors provide balanced or
unbalanced line-level signals. Connect these to the next
device in thc 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, hut 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 litters.
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 I vel signal that is a combination of the left and
right n am ft [] signals (L+R). You may use this for
a eparate mix that does not require a stereo feed, or
to soup y test the monaural compatibility of the stereo
mix Again, when used balanced, the XLR signal isO dB
higher than hat from the TRS jack.
0. Mono Out Level Contra
This is a separate level control for the mono out (9].
It comes after the main mix fader 175] 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.
Ii. Group Outs 1-4
These 1/4” TRS jacks pro’ ide balanced or unbalanced
line-level signals and are typically patched to the
inputs of a multitrack deck, or to secondary amplifiers
in a complex installation
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 [3] on the previous pige to see ho~ to
make this connection.
13.Aux Sends 1-6
These 1/4” TRS connectors allo~ 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 (like an echo)
will also change if the channel level is changed, keeping
them in the same ratio (wet/dry).
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