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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These 14” TRS jacks are for connecting serial effects
such as compressors, equalizers, de-essers, or filters.
The insert point is after the mix amps, hut before the
aux send i tasters 52 and the solo switch [60] (so you
may hear the external processor when soloing thc aux
send) Refer to the description of the channel insert [3J
on page 10 to see how to make this connection.
15. Left/Right Monitor Outs
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 Out
This 1/4’ TI{S output connector provides a balanced
line-level signal that is a combination of the left and
right monitor out [151 signals (L+R). You may use this
for a separate ink 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 recording device.
17. Headphone Out
This 1/4” TRS connector supplies the output to
stereo headphones. It is the same signal that is routed
to the monitor outputs [15-161. The volume is
controlled with the phones knob 1691, right next
to the monitor knob 68].
Whenever a solo switch [41, 49, 53, 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 AF’L 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
jWARMNG: The headphone amp is loud, and
can cause permanent hearing damage. Even
intermediate levels may he 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.
18. USB In/Out
The built-in IJSB interface allows for sonic
powerful and liexible routing It is a 4x2 interface
allowing you to record tp to four streams from the
mixer, or to input stereo playh’iek from a computer
and route it to nearly any output r pair of outputs
on the mixer. To use this feature with a PC, first
download the PC ASlO driver front www.720trees.com.
If connecting to a Mac, the mixer will show up as a
4x2 device with no driver required.
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The USB routing capabilities are as follows:
USB input TO the mixer — playback:
(1) Stereo channel 23/24 (on the 2404VLZ4) and
31/32 (on the 3204VLZ4) features a USI3 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
he sent to nearly any desired output or pair of outputs.
Additionally, the gain knob at the top of this channel
strip adjusts the USS input level to the mixer to achieve
an optimal signal level.
(2) The 2-’l~ack 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
he routed to the main bits. This section also features a
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.
USB output FROM the mixer — recording, etc:
(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 IJSB
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 maybe
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 I 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
arc adjusted on the channels. llowever, 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 sho~c These levels are also
pre-main fader, Therefore, levels maybe 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-it
host) back into the mixer. ‘vbila...a powerful outboard
effects unit!
Success here is partially dependent upon the
- 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 revei b 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 L SB) or as monitor mix
feeds...a truly powerful feature! Be sure to review the
software requirements on w~w72Otrees.coin to confirm
that the latest device drivers are currently in use.
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19. Talkhack Mic
This is where to plug in an external talkback
microphone. Dynamic and seIl~powered condenser
microphones work well.
20. Power
Press the top of this rocker switch inwards to turn 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, hut 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.
As a general guide. you should turn on your
~ 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.
21. 48V Phantom Power
Most modern professional condenser tuics require
48V phantom powcr, which lets the mixer send
low-current DC voltage to the mie’s electronics through
the same wires that carry audio. (Semi pro condenser
mics often have batteñes to accomplish the same
thing.) “Phantoni” owes its name lo an ability to be
‘unseen” by dynamic nucs (Share 5M57/SM5S, for
instance), which don’t need external power and aren’t
affected by it anyway
Press the top of 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 [581 to indicate that phantom power is active.
This is a global switch that affects all mic channels’ XLR
jacks at once.
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 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 lEO power connector.
Connect the detachable Iinecord (included in the box
with your mixer) to the power receptacle, and plug the
other end of the linecord into an AC outlet. The
VLZ4 4•Bus Series Mixers have a universal power
supply that can accept any AC voltage ranging from
too VAC to 240 V4C. No need for voltage select switches.
It will work virtu TIly anywhere in the world, That’s why
we call it a “Planet Earth” power supply! It is less
susceptible to ye tage sags or spikes, compared to
conventional power supplies, and provides greater
electromagnetic isolation and better protection against
AC line noise.
Disconnecting the plug’s ground pin is
dangerous. Don’t do it.
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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
VLZ4 mixers have a “U” symbol on almost every level
control. It stands for “unil,y 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.
3. Gain Control
If you haven’t already, please read the getting started
section on page 6.
The gain knobs adjust the input sensitivity of the tuic
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 he 0dB of gain with the knob fully down,
ramping to 60dB of gain fully tip.
Through the V4” line input of Mnnels 1-20
(2”104\LZ4) and channel 1-28 3204VLZ4), there is 20
dB of attenuation fully down and 40 dB of gain fully up,
with unity gain “U” at 10:00.
Through the 1/4” line input of channels 21/22 and
23/24 (2404VLZ4) and 29/30 and 31/32 (3204VLZ4),
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 “~irtu~l pad,” there is more
chince of channel clipping.
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 dE per octave.
We recommend that you use low-cut on every
microphone application except kick drum, bass guitar,
or hassy 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
possibilit~ of feedback in live situations, and it helps
to conserve ampliflcr power.
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 from way-down
low. Apply~ng low-cut removes all those problems,
so you can add low EQ without blowing your subwoofers.
25. Pad (-20 dB) Switch
In most eases, 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 inic preamnp. This prevents
overloading the microphone preamp and provides better
gain control. The pad only applies to flIt inputs, not the
1/4” TRS inputs.
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