Mackie 2404

MONITOR SUBGROUP INSERTS 31/32 29/30
TIP SEND, RINGRETURN INSERTS (TIP SEND, RING RETURN) INSERTS (TIP SEND, RING RETURN)
BAL / UNBAL BAL / UNBAL
L 4 3 2 1
28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
L
MONO
MONITOR SUBGROUP OUTS
MONO BAL / UNBAL LINE (BAL / UNBAL) LINE (BAL / UNBAL)
R 4 3 2 1
28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
R
AUX INSERTS STEREO RETURNS

TIP SEND, RING RETURN BAL / UNBAL
6 5 4 3 2 1 2 1 ONYX MIC PREAMPS ONYX MIC PREAMPS
L
MONO
AUX SENDS
BAL / UNBAL
6 5 4 3 2 1 2 1
R
28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
TALKBACK RIGHT LEFT MONO TAPE SERIAL NUMBER REVISION

100 - 240 V MIC MAIN OUT MAIN OUT MAIN OUT
50 - 60 Hz 55W POWER PHANTOM IN OUT
ON ON
INSERT LINE INSERT LINE INSERT LINE OUTPUT USB
U L L
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
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
+6
R R REPLACE WITH THE SAME TYPE FUSE AND RATING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
TIP SEND TIP SEND TIP SEND LEVEL DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
RING RETURN BAL / UNBAL RING RETURN BAL / UNBAL RING RETURN BAL / UNBAL
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
UNBALANCED NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE
RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.
VLZ4 4•Bus
OWNER’S MANUAL
This manual downloaded from http://www.manualowl.com

24-/32-Channel 4-Bus FX Mixer with USB
Important Safety Instructions
1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply
2. Keep these instructions. with the limits for a Class B digital device, pursuant to part 15
3. Heed all warnings. of the FCC Rules. These limits are designed to provide reasonable
4. Follow all instructions. protection against harmful interference in a residential installation.
5. Do not use this apparatus near water. This equipment generates, uses, and can radiate radio frequency
6. Clean only with a dry cloth. energy and, if not installed and used in accordance with the
7. Do not block any ventilation openings. Install in accordance with the instructions, may cause harmful interference to radio communications.
manufacturer’s instructions. However, there is no guarantee that interference will not occur
8. Do not install near any heat sources such as radiators, heat registers, in a particular installation. If this equipment does cause harmful
stoves, or other apparatus (including amplifiers) that produce heat. interference to radio or television reception, which can be determined
by turning the equipment off and on, the user is encouraged to try to
9. Do not defeat the safety purpose of the polarized or grounding-type correct the interference by one or more of the following measures:
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong. • Reorient or relocate the receiving antenna.
The wide blade or the third prong are provided for your safety. If the • Increase the separation between the equipment and the
provided plug does not fit into your outlet, consult an electrician for receiver.
replacement of the obsolete outlet. • Connect the equipment into an outlet on a circuit different from
10. Protect the power cord from being walked on or pinched particularly at that to which the receiver is connected.
plugs, convenience receptacles, and the point where they exit from the • Consult the dealer or an experienced radio/TV technician for
apparatus. help.
11. Only use attachments/accessories specified by the manufacturer. CAUTION: Changes or modifications to this device not expressly
12. Use only with a cart, stand, tripod, bracket, or approved by LOUD Technologies Inc. could void the user's authority to
table specified by the manufacturer, or sold with
PORTABLE CART
WARNING
operate the equipment under FCC rules.
the apparatus. When a cart is used, use caution 21. This apparatus does not exceed the Class A/Class B (whichever is
when moving the cart/apparatus combination to applicable) limits for radio noise emissions from digital apparatus as
avoid injury from tip-over. set out in the radio interference regulations of the Canadian Department
13. Unplug this apparatus during lightning storms or of Communications.
when unused for long periods of time. ATTENTION — Le présent appareil numérique n’émet pas de bruits
14. Refer all servicing to qualified service personnel. Servicing is required radioélectriques dépassant las limites applicables aux appareils
when the apparatus has been damaged in any way, such as power- numériques de class A/de class B (selon le cas) prescrites dans le
supply cord or plug is damaged, liquid has been spilled or objects have réglement sur le brouillage radioélectrique édicté par les ministere des
fallen into the apparatus, the apparatus has been exposed to rain or communications du Canada.
moisture, does not operate normally, or has been dropped. 22. Exposure to extremely high noise levels may cause permanent hearing
15. This apparatus shall not be exposed to dripping or splashing, and no loss. Individuals vary considerably in susceptibility to noise-induced
object filled with liquids, such as vases or beer glasses, shall be placed hearing loss, but nearly everyone will lose some hearing if exposed to
on the apparatus. sufficiently intense noise for a period of time. The U.S. Government’s
16. Do not overload wall outlets and extension cords as this can result in a Occupational Safety and Health Administration (OSHA) has specified
risk of fire or electric shock. the permissible noise level exposures shown in the following chart.
17. This apparatus has been designed with Class-I construction and must According to OSHA, any exposure in excess of these permissible limits
be connected to a mains socket outlet with a protective earthing could result in some hearing loss. To ensure against potentially
connection (the third grounding prong). dangerous exposure to high sound pressure levels, it is recommended
that all persons exposed to equipment capable of producing high
18. This apparatus has been equipped with a rocker-style AC mains power sound pressure levels use hearing protectors while the equipment
switch. This switch is located on the rear panel and should remain is in operation. Ear plugs or protectors in the ear canals or over the
readily accessible to the user. ears must be worn when operating the equipment in order to prevent
19. The MAINS plug or an appliance coupler is used as the disconnect permanent hearing loss if exposure is in excess of the limits set forth
device, so the disconnect device shall remain readily operable. here:
CAUTION AVIS Duration, Sound Level Typical Example

RISK OF ELECTRIC SHOCK. DO NOT OPEN
per day in dBA, Slow
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR hours Response
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) 8 90 Duo in small club
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. 6 92
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE. 4 95 Subway Train
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE 3 97
The lightning flash with arrowhead symbol within an equilateral triangle is
2 100 Very loud classical music
intended to alert the user to the presence of uninsulated "dangerous 1.5 102
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons. 1 105 Matt screaming at Troy about
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral deadlines
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque 0.5 110
d'éléctrocution. 0.25 or less 115 Loudest parts at a rock concert
The exclamation point within an equilateral triangle is intended to alert the
user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé
WARNING — To reduce the risk of fire or electric shock, do not
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
expose this apparatus to rain or moisture.
accompagnant l'appareil.
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
2 VLZ4 4•Bus
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.

Contents
Important Safety Instructions................................... 2 41. Solo........................................................ 20
Contents.................................................................. 3 42. Assign.................................................... 20
Features.................................................................. 4 43. Channel Fader......................................... 20
Introduction............................................................. 5 44. FX1 And FX2.......................................... 20
Getting Started........................................................ 6 45. USB Switch............................................. 20
Hookup Diagrams..................................................... 7 2-Track, USB, Aux Masters And Meters................ 21
VLZ4 4•Bus Features............................................... 9 46. Lamp...................................................... 21
Rear Panel - Connections....................................... 9 47. Suck Knob............................................... 21
1. Mic Ins..................................................... 9 48. 2-Track Return Level................................ 21
2. Line Ins..................................................... 9 49. 2-Track Return Solo................................. 21
3. Insert..................................................... 10 50. 2-Track Return Tape/USB........................ 21
4. Stereo Line Ins........................................ 10 51. USB Out................................................. 22
5. Stereo Returns 1-2.................................. 10 52. Master Aux Sends 1-6............................. 22
6. Tape Ins / Outs....................................... 10 53. Master Aux Sends Solo............................ 22
7. L/R Main Outs: XLR & 1/4".................... 11 54. Stereo Returns 1-2 To Aux 1-4/Main....... 22
8. Main Inserts........................................... 11 55. Stereo Returns Solo................................. 22
9. Mono Out............................................... 11 56. 48V Led.................................................. 22
10. Mono Out Level Control........................... 11 57. Power Led.............................................. 22
11. Group Outs 1-4....................................... 11 58. Left/Right Level Meters.......................... 23
12. Group Inserts.......................................... 11 59. Rude Solo Light....................................... 23
13. Aux Sends 1-6........................................ 11 60. Solo Mode.............................................. 23
14. Aux Inserts ............................................ 12 Stereo Effects Processors, Headphones, Talkback, ....
15. Left/Right Monitor Outs ......................... 12 Main And Groups Mix............................................ 24
16. Mono Monitor Out................................... 12 61. FX1 And FX2 Send Master....................... 24
17. Headphone Out....................................... 12 62. FX1 And FX2 To Aux 1/Aux 2/Main........ 24
18. USB In/Out............................................ 12 63. Sig/OL LED............................................. 24
19. Talkback Mic........................................... 14 64. Preset Display......................................... 24
20. Power.................................................... 14 65. Preset Selector, Tap Delay And LED........... 25
21. 48V Phantom Power............................... 14 66. Internal FX Mute..................................... 25
22. Power Connection.................................... 14 67. Solo Level............................................... 25
Front Panel - Knob Twiddlin' Section..................... 15 68. Monitor Level.......................................... 26
23. Gain Control............................................ 16 69. Phones Level........................................... 26
24. Low Cut.................................................. 16 70. Talkback Level......................................... 26
25. Pad (-20 dB) Switch................................ 16 71. Push To Talk: Main, Aux 1-4.................... 26
26. Compressor............................................. 17 72. Compressor............................................. 26
27. Aux Sends 1-6........................................ 18 73. Groups Assign......................................... 26
28. Pre-Fader / Aux Sends 1-2..................... 18 74. Group 1-4 Faders.................................... 27
29. Int Fx 1-2 / Aux Sends 5-6..................... 18 75. Main Mix................................................ 27
30. Int Fx / Aux 5-6 Switch.......................... 18 Appendix A: Service Information............................. 28
31. High EQ.................................................. 19 Appendix B: Connections......................................... 28
32. Mid EQ................................................... 19 Appendix C: Technical Information........................... 31
33. Mid EQ Frequency.................................... 19 Appendix D: USB.................................................... 37
34. Low EQ................................................... 19 Appendix E: Table of Effects Presets........................ 38
35. High Mid EQ Level................................... 19 Limited Warranty................................................... 39
36. Low Mid EQ Level.................................... 19
37. Pan........................................................ 19 Like us
38. Mute...................................................... 19
39. OL LED.................................................... 19 Follow us
40. Sig LED................................................... 20
Part No. SW0974 Rev. B 06/13 Watch our dang videos
©2013 LOUD Technologies Inc. All Rights Reserved. Owner’s Manual 3
Based off of the highly recommended book, 246 Ways to
Clean a Cat Box.
Features How To Use This Manual
After the introduction, a getting started guide will
• 4•bus mixer featuring our signature help you get things set up fast. These are followed by
high-headroom, low-noise design hookup diagrams which show some typical setups.
• Boutique-quality Onyx mic preamps
• Ultra-wide 60 dB gain range Next is a detailed tour of the entire mixer.
• 128.5 dB dynamic range The descriptions are divided into sections, just
• +22 dBu line input handling as your mixer is organized into distinct zones:
• Extended frequency response • Rear Panel / Connections
• Distortion under 0.0007% (20 Hz - 50 kHz)
• Channel Controls
• Improved RF rejection, perfect for broadcast
• 2-Track, USB, Aux Masters, Meters
applications
• Stereo Effects Processors, Headphones,
• Phantom power for condenser mics
Talkback, Main and Groups Mix
• Dedicated inline channel compression
Throughout these sections you’ll find illustrations
for critical inputs
with each feature numbered and described in nearby
• High-headroom line inputs with dedicated paragraphs.
inserts
This icon marks information that is critically
• 3-band EQ with sweepable midrange
important or unique to the mixer. For your own
• 18 dB/oct 100 Hz low-cut filter on mic input good, read them and remember them.
channels
This icon will lead you to some explanations
• Level, pan, solo and overload/mute LEDs
of features and practical tips. They usually
on each channel
have some valuable nuggets of information.
• Four subgroups featuring dedicated inline
compressors for total dynamic control
• Six aux sends with inserts, pre/post fader
and internal/external FX send options
• Two stereo returns and four group outs
with inserts
• Dual 32-bit RMFX+™ processors featuring
24 “Gig Ready” reverbs, choruses and tap delay
for live applications
• Integrated 4x2 24-bit USB interface
• Stream subgroups or master L/R to your
PC or Mac for recording
• Use your favorite plug-in live via auxes 5/6
• Convenient stereo return to mains for music
playback or return to channel to implement
EQ, auxes and more
• PFL/AFL solo modes
• 60mm long-wearing log-taper faders
• High-resolution 12-segment stereo meters
• Sealed rotary control resist dust and grime
• “Built-Like-A-Tank” rugged steel chassis with
powder-coat finish
• High-visibility, high-contrast controls deliver
convenient “at-a-glance” visual feedback
• Universal power supply for worldwide use
4 VLZ4 4•Bus

Introduction
Awesomely unheard of features Powerful on-board dual FX engines and eight
individual compressors
USB Recording and Playback In pursuit of the ultimate “do-it-all” Live Sound
The VLZ4 4•Bus Series Mixers feature a 4x2 USB Mixer, we threw in the kitchen sink and packed this bad
recording and playback function. This means up to four boy with a full set of processors allowing you to travel
signals may be recorded simultaneously and a stereo “rack free” while still making professional sounding
mix returned to the mixer for playback. mixes.
There are two switches in the master section labeled For starters, we added not one, but TWO, of our
“USB OUT” that allow for monstrous flexibility on the patented Running Man FX processors (RMFX+™)
four recordable signals. The default switch featuring 24 “gig-ready” effects right into the board. This
configuration routes subgroups 1-4 over the USB does not include useless effects such as “the warbler” or
connection to your favorite DAW software for a “mix it the “insanity delay”, but rather a suite of quickly
later” 4-track recording. The Subgroup 1-2 switch also accessible and useable reverbs, choruses and delays
allows the L-R mix to be recorded for convenient stereo that make coloring your mix a breeze.
mixes of the show. The Subgroup 3-4 switch allows aux
Additionally, both FX processors feature a tap delay,
5/6 to be sent to the DAW for a unique stereo recording
typically only available on an outboard rack. Delays may
or the use of DAW plug-ins as effects.
easily be sync'd with the song at the tap of a finger. And
For playback, there are two switches in the master because we love flexible routing (hehe), the processed
section labeled “2-TRACK RETURN”. One switch [TAPE/ signal may be sent direct to the mains and monitors
USB] changes the standard dual RCA inputs to main from the effects section or re-routed to the two stereo
(tape, switch disengaged) to stereo USB to main (USB, channels to bring them through the EQ and aux section,
switch engaged). This is an extremely convenient utilizing the 60mm fader to draw them into the mix.
function for playing music over the main mix from a
But wait, there's more! The VLZ4 4•Bus has eight
computer.
(yes, eight!) single knob compressors to stop the
Another cool feature of the VLZ4 4•Bus is routing dynamic signals from poking out of the mix. Four
the stereo USB return to the last stereo channel of the compressors are located on the last four mic inputs
mixer. This is a mighty fine tool for a number of live and so that the most critical signals (such as vocals, snare
recording uses. For example, playback through the drum, the occasional jaw harp or mountain goats) may
stereo channel allows the “Greg M designed” 4-band be addressed. Plus, there are single knob compressors
EQ to be utilized to sweeten the sounds. It may also be on each of the four subgroups so that grouped signals
used for overdubbing by sending music to the musicians' (such as a drum set or a choir of didgeridoos) may be
headphones through the auxes. blended together for paramount smoothness.
Last, but not least, it may be used to return plug-in Bottom line? You have an awesome mixer with
effects from the DAW in a live mix scenario. One of our VLZ4 sound quality, “built-like-a-tank” build quality
favorites is the CamelPhat VST that makes your and a recording and processing feature set that is
average drummer sound like Bonham on How The West unparalleled. Congratulations... and happy mixing!
Was Won.
Need help with your mixer?

• Visit www.720trees.com and click Support to find: FAQs, manuals and other useful information.
• Email us at: techmail@loudtechinc.com.
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps
(Monday through Friday, normal business hours, Pacific Time).
Owner’s Manual 5

Getting Started Set the levels
It’s not even necessary to hear what you’re doing to
We realize that you must be really keen to try out the set optimal levels. But if you’d like to: Plug headphones
mixer. Please read the safety instructions on page 2, into the phones output jack, then turn up the phones
then have a look through some of the features and knob just a little.
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
Use the mixer in a nice clean and dry environment, the rude solo light will turn on.
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
1. Fully turn down all the knobs to minimum, (marked “level set”).
except for the channel EQ and pan controls,
5. Disengage the channel's solo switch.
which should be centered.
6. Repeat steps 2 to 5 for the remaining channels.
2. Make sure all buttons are in the out position.
7. Turn up the channel fader to the “U” mark.
Connections 8. Slowly turn up the main mix fader until you
hear the signals in your headphones.
1. Make sure the AC power switch is off before 9. If needed, apply some channel EQ wisely.
making any connections.
10. Adjust the channel levels to get the best mix.
2. Push the linecord securely into the IEC Keep the gain controls and levels fully down on
connector on the rear panel, and plug it into a unused channels.
3-prong AC outlet. The mixer can accept any
11. During the performance, if you notice a channel
AC voltage ranging from 100 VAC to 240 VAC.
OL LED turning on during peaks, carefully turn
3. Plug a balanced microphone into one of the mic down that channel's gain control until OL does
XLR (3-pin) connectors. Or connect any not turn on.
line-level signal (keyboard, or guitar preamp)
to a line input jack using a TS or a TRS
1/4" plug.
Things to Remember
4. If your microphone requires phantom power, • Never listen to loud music for prolonged
turn on the 48V phantom power button. periods. Please see the Safety Instructions on
5. All mono channels have insert jacks that can be page 2 for information on hearing protection.
used to connect an external effects or dynamics • Always turn down the phones level when
processor into the signal chain. making connections, pressing solo, or doing
6. Connect the main outputs of the mixer (either anything that may cause loudness in the
XLR or TRS 1/4") to the line level inputs of your headphones. This will help protect your
amplifier (with speakers already attached) or hearing.
to the line level inputs of powered speakers. • Always turn down the main mix level and
monitor level when making connections
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!
6 VLZ4 4•Bus

Hookup Diagrams
Francis desTROYer Dustin
on bass on six-string on drums
Turntables with phono-level output
DI
3
2 4
1 5
ks jd
hi pb pa
no jh standby/
power/
lo fault
0dB -15dB gain ultra hi / lo bass midrange frequency treble master standby power
Box
Anthony on
lead vox
d.2 Pro DJ mixer L

MAIN OUT
R LINE
MIC
BOOTH
L L
FX
SEND R
PHONO
L
PGM 2
CD
L
PHONO
L
PGM 1
CD
L
MIC
R R R R
LIVE
RECORD
RETURN
R L(MONO) R
LINE GND LINE GND

L PHONO PHONO
1 2 full on
R TDSK
standby
half off
input gain treble middle bass volume channel gain treble middle bass volume reverb master power
1 2
Headphones
Chris
on keys
MR8mk3
Powered Reference
Monitors L/R
MONITOR
L 4 3
SUBGROUP INSERTS
TIP SEND, RINGRETURN
2 1
21/22
BAL / UNBAL
23/24
BAL / UNBAL
20
INSERTS (TIP SEND, RING RETURN)
19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2
1
Laptop
Computer
L
MONO
with audio
R 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
R
AUX INSERTS
TIP SEND, RING RETURN
STEREO RETURNS
BAL / UNBAL
production
software
L
MONO
AUX SENDS
BAL / UNBAL
6 5 4 3 2 1 2 1
R
20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
100 - 240 V
TALKBACK RIGHT MAIN OUT
LEFT MAIN OUT
MONO MAIN OUT
TAPE SERIAL NUMBER REVISION
50 - 60 Hz 55W POWER PHANTOM MIC IN OUT
ON ON
INSERT LINE INSERT LINE INSERT LINE OUTPUT
U L L USB
+6 R R REPLACE WITH THE SAME TYPE FUSE AND RATING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
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
UNBALANCED (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
Monitor EQ
(Aux Inserts 1-4)
DLM12 DLM12
Powered Powered
Speaker Speaker
SRM150 DLM12S DLM12S

Powered Monitor Powered Powered
for keyboard player SRM450v2 Powered Speakers Subwoofer Subwoofer
(Aux Send 5) for Stage Monitors (Aux Sends 1-4)
The drummer is the mic and channel hog of the band; Dustin has the kick, snare and three toms mic'd
up, in addition to two overhead mics. These run to mic inputs 1-7. desTROYer is rockin' the electric guitar
through an Ampeg GVT52-212 guitar amp. The amp is mic'd and connected to the channel 8 mic input.
Keyboard player Chris is connected to the channel 10 and 11 line inputs...well, Chris isn't connected to
the inputs; his keyboard is! Vocalist Anthony is singing through a mic connected to the mic 19 input. A
bass guitar is connected to an Ampeg rig which is connected (via DI) to the mic 20 input. The last four
mono channels of each 24 and 32-channel VLZ4 4•Bus mixer have built-in compressors, so feel free to
"squeeze" the vocals and bass to heart's desire since they lie here. Last, but not least, a DJ is spinning
records connected (via a d.2 Pro DJ mixer) to the line inputs on stereo channels 21/22. The sound guy
(or gal) may monitor levels using headphones (via the headphones output) and/or a pair of MR8mk3's
connected to the monitor L/R outputs.
Four SRM450v2 powered speakers are used as stage monitors for the band; they are connected to the
aux 1-4 send jacks. An SRM150 powered speaker receives a mono input from the aux 5 send, and is
used as a monitor for Chris (the keyboard player). Graphic EQs are connected to aux inserts 1-4 to help
prevent feedback.
The club is driven by connecting a pair of DLM12S powered subwoofers and a pair of DLM12
powered speakers to the main left and right outputs.
A laptop connects to the mixer via the USB port, allowing the 2-channel main mix to be recorded.
Any music (iTunes®, mp3s, or other pre-recorded audio) may be played back from the laptop, as well.
These can enter as either a source for the monitor and phones, or any available channels.
Typical Live Sound System
Owner’s Manual 7

Amplifier
modeler
desTROYer
on six-string
MR8mk3 Francis Dustin
Powered Reference on bass on drums
Monitors L/R 0dB -15dB gain
hi
lo
ultra hi / lo bass midrange

1
2
3
frequency
4
5
ks
pb
no
treble
jd
pa
jh
master
standby/
power/
fault
standby power
Chris
on keys
DI
Box
Headphones input gain treble middle bass volume
1 2
channel gain treble middle bass volume reverb

TDSK
master
full
half
standby
on
off
power
1 2
Anthony on
lead vox
Headphone Amp
MONITOR
L 4 3
SUBGROUP INSERTS
2 1
21/22
BAL / UNBAL
23/24
BAL / UNBAL
20
19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2
1
Laptop
Computer
L
MONO
with audio
R 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
R
AUX INSERTS
TIP SEND, RING RETURN
STEREO RETURNS
BAL / UNBAL production
software
L
MONO
AUX SENDS
BAL / UNBAL
6 5 4 3 2 1 2 1
R
20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
100 - 240 V
LEFT MAIN OUT
MONO MAIN OUT
TAPE SERIAL NUMBER REVISION
ON ON
U L L USB
+6 R R REPLACE WITH THE SAME TYPE FUSE AND RATING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
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
UNBALANCED (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE
UNDESIRED OPERATION.
Once the band has played a few shows and feel that the songs are up to par, then it's time to record
them for posterity and all three adoring fans. The good thing is that the VLZ4 4•Bus mixer functions great
in both environments... live and recording!
Here is how to record the band in three easy steps:
1. Drum tracking: wire up everything as shown above. Bus the kick (panned left) to subgroup 1 and
snare (panned right) to subgroup 2 so they are recorded to their own tracks in the DAW. They will show
up on inputs 1 and 2. All four subgroup assign 1-2 Left/Right switches should be engaged so these
signals may be monitored in mono. Bus the tom mics and overhead mics to subgroups 3 and 4; set the
pans as preferred. The subgroup assign 3 left and subgroup assign 4 right switches should be engaged.
These signals are recorded and monitored with the pan image as set up on the mixer and will show up
as inputs 3 and 4. Check the levels carefully as they cannot be mixed later. The drums now need to be
mixed in the DAW before overdubbing takes place.
2. Overdubbing: first, route the stereo USB return into the last stereo channel (23/24 or 31/32,
depending on which VLZ4 4•Bus is being utilized). Next, route the stereo channel to the L/R Main
so playback occurs in the headphones. Now route the bass to the L/R Main by sending the bass mic
(panned left) to subgroup 1, and input 1 to track 5 of the DAW, while sending the bass DI (panned right)
to subgroup 2, and input 2 to track 6 of the DAW. Finally, engage the subgroup assign 1 and 2 Left/
Right switches to hear the bass in mono. Congratulations, you are overdubbing with zero latency!
3. Rinse and repeat: follow these same steps for guitars, keyboards, vocals, kazoos, llamas, and
whatever else you can fit in the studio. It's that easy!
As the session progresses, the engineer, band, producer, A&R representative, and whatever posse may
be present can crank the tunes through a pair of MR8mk3's and nod their collective heads to the beat.
Typical Recording System
8 VLZ4 4•Bus

VLZ4 4•Bus Features
MONITOR SUBGROUP INSERTS
21/22 23/24
BAL / UNBAL BAL / UNBAL INSERTS (TIP SEND, RING RETURN)
17 12 3
L 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
L
15 4
MONO
MONO BAL / UNBAL LINE (BAL / UNBAL)
16 11 2
R 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
R

14
6 5 4 3 2 1 2 1 ONYX MIC PREAMPS
5 1
MONO
AUX SENDS
BAL / UNBAL
13
6 5 4 3 2 1 2 1
R
20 19 18 17 16 15 14 13 12 11 10 9 8 7
100 - 240 V
LEFT MAIN OUT
MONO MAIN OUT
TAPE
ON ON
L L USB
22 7 7 9 18
U
+6 R R
TIP SEND TIP SEND TIP SEND LEVEL
20 21 19 8 8 8 10 6
UNBALANCED
Rear Panel - Connections

1. Mic Ins Phantom Power
This is a female XLR connector that accepts a Most modern professional condenser mics require
balanced mic or line level input from almost any type 48V phantom power, which lets the mixer send
of source. These Onyx mic preamps feature higher low-current DC voltage to the mic’s electronics
fidelity and headroom rivaling any standalone mic through the same wires that carry audio. (Semi-pro
preamp on the market today. These circuits are condenser mics often have batteries to accomplish the
e xcellent at rejecting hum and noise. same thing.) “Phantom” owes its name to an ability to
be “unseen” by dynamic mics (Shure SM57/SM58, for
The XLR inputs are wired as follows: instance), which don’t need external power and aren’t
Pin 1 = Shield or ground affected by it anyway.
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold) Phantom power may be selected by pressing up on the
mixer's phantom [21] switch.
Professional ribbon, dynamic, and condenser mics all
sound excellent through these inputs. The mic/line Never plug single-ended (unbalanced)
inputs will handle any kind of level you can toss at microphones, or ribbon mics into the mic
them, without overloading. input jacks if phantom power is on. Do not
plug instrument outputs into the mic XLR input jacks
Microphone-level signals are passed through the with phantom power on, unless you are certain it is safe
mixer's splendid microphone preamplifiers to become to do so.
line-level signals.
The Onyx preamps accept balanced line-level signals 2. Line Ins
because the mixer is equipped with a -20 dB pad on These 1/4" jacks share circuitry (but not phantom
channels 1-16 (2404VLZ4) and channels power) with the mic preamps, and can be driven by
1-24 (3204VLZ4) so hot signals may pass. balanced or unbalanced sources.
See Appendix B (page 31) for further details and To connect balanced lines to these inputs, use a 1⁄4"
some rather lovely drawings of the connectors you can Tip-Ring-Sleeve (TRS) plug, wired as follows:
use with your mixer. 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
Owner’s Manual 9

21/22 23/24
17 12 3
L 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
L
15 4
MONO
16 11 2
R 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
R

14
5 1
MONO
AUX SENDS
BAL / UNBAL
13
6 5 4 3 2 1 2 1
R
20 19 18 17 16 15 14 13 12 11 10 9 8 7
100 - 240 V
LEFT MAIN OUT
MONO MAIN OUT
TAPE
ON ON
L L USB
22 7 7 9 18
U
+6 R R
20 21 19 8 8 8 10 6
UNBALANCED
3. Insert 5. Stereo Returns 1-2

These unbalanced 1/4" jacks are for connecting serial The stereo (aux) returns are designed for 1/4" TRS
effects processors such as compressors, equalizers, balanced or 1/4" TS unbalanced signals, from -20 dB to
de-essers, or filters. The insert point is after the gain +20 dB. They allow the stereo processed output from
control [23] and low cut filter [24], but before the external effects processors or other devices to be added
channel’s EQ [31-36] and level [43]. The channel signal to the main mix.
can go out of the insert jack to an external device, be
Level adjustment of the incoming signals is made with
processed and come back in on the same insert jack. To
the stereo return controls [54].
do this requires a standard insert cable that must be
wired thusly: You may also use these inputs to add any stereo
line-level signals to your main mix, so it could be
ring
(TRS plug)
SEND to processor
tip another line-level source, not just an effects processor.
tip sleeve
If you are connecting a mono source, use the left

This plug connects to one of the ring
(mono) stereo return input, and the mono signals will
mixer’s Channel Insert jacks. RETURN from processor appear on both sides of the main mix.
Tip = Send (output to effects device) 6. Tape Ins / Outs

Ring = Return (input from effects device)
Sleeve = Common ground The stereo unbalanced RCA inputs allow you to play
a CD player, iPod® dock, or other line-level source.
Insert jacks may be used as channel direct outputs; The tape in jacks accept an unbalanced signal using
post-gain, and pre-EQ. See the connector section on standard hi-fi hookup cables.
page 30 (figure G) showing three ways to use insert
cables. The stereo unbalanced RCA outputs allow you to
record the main stereo mix onto a hard disk recorder
or automatic CD burner, for example. This lets you
4. Stereo Line Ins
make a recording for posterity/archive/legal purposes
The stereo line inputs are designed for 1/4" TRS whenever the band gets back together again.
balanced or 1/4" TS unbalanced signals. They may
accept any line-level instrument, effects device, CD The tape output is the stereo main mix, and it is not
player, etc. affected by the main mix level control [75]. The output
could also be used as an extra set of main outputs for
Level control is available -20 dB to +20 dB if you are feeding another zone.
connecting a mono source. Use the left (mono) stereo
return input, and the mono signals will appear on both
sides of the main mix.
10 VLZ4 4•Bus

21/22 23/24
17 12 3
L 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
L
15 4
MONO
16 11 2
R 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
R

14
5 1
MONO
AUX SENDS
BAL / UNBAL
13
6 5 4 3 2 1 2 1
R
20 19 18 17 16 15 14 13 12 11 10 9 8 7
100 - 240 V
LEFT MAIN OUT
MONO MAIN OUT
TAPE
ON ON
L L USB
22 7 7 9 18
U
+6 R R
20 21 19 8 8 8 10 6
UNBALANCED
7. Left/Right Main Outs: XLR & 1/4" 11. Group Outs 1-4
The male XLR connectors provide a balanced These 1/4" TRS jacks provide balanced or unbalanced
line-level signal that represents the end of the mixer line-level signals and are typically patched to the
chain, where the fully mixed stereo signal enters the inputs of a multitrack deck, or to secondary amplifiers
real world. Connect these to the left or right inputs of in a complex installation.
your main power amplifiers, powered speakers, or serial
effects processor (like a graphic equalizer or 12. Group Inserts
compressor/limiter). The XLR outputs are 6 dB
These 1/4" TRS jacks are for connecting serial effects
hotter than the TRS outputs.
such as compressors, equalizers, de-essers, or filters.
The 1/4" TRS output connectors provide balanced or The insert point is after the mix amps, but before the
unbalanced line-level signals. Connect these to the next group send masters [74] (and after the built-in stereo
device in the signal chain like an external processor compressor [72]). Refer to the description of the
(compressor/limiter), or directly to the inputs of the channel insert [3] on the previous page to see how to
main amplifier. These are the same signal that appears make this connection.
at the XLR main outputs, but 6 dB lower when the XLR
is used balanced. 13. Aux Sends 1-6
These 1/4" TRS connectors allow you to send balanced
8. Main Inserts or unbalanced line-level outputs to external effects
These 1/4" TRS jacks are for connecting serial effects devices, headphone amplifiers, or stage monitors. These
such as compressors, equalizers, deessers, or filters. could either be passive stage monitors powered by an
The insert point is after the mix amps, but before the external amplifier, or powered stage monitors with built-
main mix fader [75]. Refer to the description of the in power amplifiers. All six auxes are independent of
channel insert on the previous page to see how to each other, so you can run up to six separate aux mixes.
make this connection.
Aux sends 3-4 may either be pre or post fader,
depending on the position of the pre/post switches [28].
9. Mono Out For stage monitor work, use pre, so the stage monitors
The male XLR connector [balanced] and 1/4" TRS do not increase in volume when the channel level is
output connector [balanced or unbalanced] provide adjusted. Imagine how upsetting that can be to big hairy
a line-level signal that is a combination of the left and drummers. This allows you to set up the monitor mix
right main out [7] signals (L+R). You may use this for and levels just right, and not have it change every time
a separate mix that does not require a stereo feed, or a channel level is adjusted.
to simply test the monaural compatibility of the stereo
For external processors, use post. In this way, the
mix. Again, when used balanced, the XLR signal is 6 dB
feed to external processors will vary with the channel
higher than that from the TRS jack.
level, so the level of any returned effect (like an echo)
will also change if the channel level is changed, keeping
10. Mono Out Level Control them in the same ratio (wet/dry).
This is a separate level control for the mono out [9].
It comes after the main mix fader [75], so turning the
main mix fader up and down does affect the mono out
signal. With this control turned all the way up, you will
have 6 dB of extra gain at the mono out. Owner’s Manual 11

21/22 23/24
17 12 3
L 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
L
15 4
MONO
16 11 2
R 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
R

14
5 1
MONO
AUX SENDS
BAL / UNBAL
13
6 5 4 3 2 1 2 1
R
20 19 18 17 16 15 14 13 12 11 10 9 8 7
100 - 240 V
LEFT MAIN OUT
MONO MAIN OUT
TAPE
ON ON
L L USB
22 7 7 9 18
U
+6 R R
20 21 19 8 8 8 10 6
UNBALANCED
14. Aux Inserts Whenever a solo switch [41, 49, 53, 55, 73] is engaged,
you will only hear the soloed channel(s), 2-track return,
These 1/4" TRS jacks are for connecting serial effects
aux(es), and/or group(s) in the headphones. This gives
such as compressors, equalizers, de-essers, or filters.
you the opportunity to audition the channels before
The insert point is after the mix amps, but before the
they are added to the main mix. (Solo signals reaching
aux send masters [52] and the solo switch [60] (so you
the headphones are not affected by the channel level or
may hear the external processor when soloing the aux
main level (except in AFL mode), therefore turn down
send). Refer to the description of the channel insert [3]
the phones level first, as soloed channels may be loud.)
on page 10 to see how to make this connection.
The phones output follows standard conventions:
15. Left/Right Monitor Outs Tip = Left channel
Ring = Right channel
These 1/4" TRS jacks provide a balanced line-level
Sleeve = Common ground
signal that may be used to provide an additional main
mix output or to monitor soloed channels. WARNING: The headphone amp is loud, and
can cause permanent hearing damage. Even
Connect these outputs to the inputs of an amplifier,
intermediate levels may be painfully loud
powered speaker, headphone distribution amplifier,
with some headphones. BE CAREFUL! Always turn the
or recording device.
phones level control [69] all the way down before
connecting headphones or pressing a solo switch, or
16. Mono Monitor Out doing anything new that may affect the headphone
This 1/4" TRS output connector provides a balanced volume. Then turn it up slowly as you listen carefully.
line-level signal that is a combination of the left and
right monitor out [15] signals (L+R). You may use this 18. USB In/Out
for a separate mix that does not require a stereo feed,
The built-in USB interface allows for some
or to simply test the monaural compatibility of the
powerful and flexible routing. It is a 4x2 interface
stereo mix.
allowing you to record up to four streams from the
Connect these outputs to the inputs of an amplifier, mixer, or to input stereo playback from a computer
powered speaker, headphone distribution amplifier, and route it to nearly any output or pair of outputs
or recording device. on the mixer. To use this feature with a PC, first
download the PC ASIO driver from www.720trees.com.
17. Headphone Out If connecting to a Mac, the mixer will show up as a
4x2 device with no driver required.
This 1/4" TRS connector supplies the output to
stereo headphones. It is the same signal that is routed
to the monitor outputs [15-16]. The volume is
controlled with the phones knob [69], right next
to the monitor knob [68].
12 VLZ4 4•Bus

21/22 23/24
17 12 3
L 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
L
15 4
MONO
16 11 2
R 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
R

14
5 1
MONO
AUX SENDS
BAL / UNBAL
13
6 5 4 3 2 1 2 1
R
20 19 18 17 16 15 14 13 12 11 10 9 8 7
100 - 240 V
LEFT MAIN OUT
MONO MAIN OUT
TAPE
ON ON
L L USB
22 7 7 9 18
U
+6 R R
20 21 19 8 8 8 10 6
UNBALANCED
The USB routing capabilities are as follows: In other words, if subgroups 1 and 2 are used to sub-
mix drums and those drums have a stereo image
USB input TO the mixer – playback:
(e.g. overheads and toms pan according to desire), this
(1) Stereo channel 23/24 (on the 2404VLZ4) and stereo image is retained in the DAW inputs (assuming
31/32 (on the 3204VLZ4) features a USB button, so one subgroup 1 is set to "L" and subgroup 2 is set to "R").
may route computer output (such as iTunes®) down the Any adjustments made to the subgroup drum levels
last stereo channel of the board. This stereo signal may during the show only pertain to the live show itself;
then be EQ'd, sent to auxiliaries (i.e. to feed monitors, recording levels are not adjusted in the DAW unless they
headphones or effects) and is routable to mains and/or are adjusted on the channels. However, compression
subgroups via the fader routing features that are settings made on the mixer will apply to the recording.
available on all other channels. In short, this signal may
Likewise, it is possible to record the main mix to take
be sent to nearly any desired output or pair of outputs.
home a copy of the live show. These levels are also
Additionally, the gain knob at the top of this channel
pre-main fader. Therefore, levels may be mixed up or
strip adjusts the USB input level to the mixer to achieve
down in the DAW later depending on the needs of the
an optimal signal level.
recording versus the live show. The end result is that
(2) The 2-Track Return section features a “flip” fade-ins and/or fade-outs made during the show do not
switch, so a “Tape” source (connected via RCA cables, affect recorded levels.
such as an iPod®) or the USB signal from a computer
And finally, it is possible to route the aux 5-6 (again,
(playing Windows Media Player® files, for example) may
pre-fader) mixer signals into a DAW or plug-in host.
be routed to the main bus. This section also features a
From there, re-route the output of the DAW (or plug-in
solo button and input level adjustment for fading house
host) back into the mixer. Voilà...a powerful outboard
music up and down between bands, at a house of
effects unit!
worship, or any other event where this may be
necessary. Success here is partially dependent upon the
computer's speed. It needs to be fast enough
USB output FROM the mixer – recording, etc:
to run at low buffer sizes so that there is no
(1) A variety of different signals may be recorded noticeable latency between the input signal and, say,
via the USB output section, depending on the setup. In the reverb return. This kind of flexible routing allows
the 'USB OUT' section, the switch on the left [51] will for a variety of choices: running aux 5-6 as effects sends
select either Groups 1-2 or the main mix to feed USB to outboard gear, internal effects sends (native to the
output channels 1-2. The second switch (to the right) board), DAW plug-ins (via USB) or as monitor mix
will select either Groups 3-4 or Aux 5-6 to feed USB feeds...a truly powerful feature! Be sure to review the
output channels 3-4. software requirements on www.720trees.com to confirm
that the latest device drivers are currently in use.
For example, with both USB ouput switches in the
default position (up), true 4-track recording may be
accomplished via routing to subgroups 1-4. The USB tap
points for the subgroups are pre-fader (also pre-insert)
and post-compressor. The signals will show up on the
DAW dependent upon how they are panned on the
channels.
Owner’s Manual 13

21/22 23/24
17 12 3
L 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
L
15 4
MONO
16 11 2
R 4 3 2 1
20 19 18 17 16 15 14 13 12 11 10 9 8 7
R

14
5 1
MONO
AUX SENDS
BAL / UNBAL
13
6 5 4 3 2 1 2 1
R
20 19 18 17 16 15 14 13 12 11 10 9 8 7
100 - 240 V
LEFT MAIN OUT
MONO MAIN OUT
TAPE
ON ON
L L USB
22 7 7 9 18
U
+6 R R
20 21 19 8 8 8 10 6
UNBALANCED
19. Talkback Mic Never plug single-ended (unbalanced)

microphones, or ribbon mics into the mic
This is where to plug in an external talkback
input jacks if phantom power is on. Do not
microphone. Dynamic and self-powered condenser
plug instrument outputs into the mic XLR input jacks
microphones work well.
with phantom power on, unless you know for certain it
is safe to do so. Be sure the main level [75] is turned
20. Power down when connecting microphones to the mic inputs
Press the top of this rocker switch inwards to turn on when phantom power is turned on, to prevent pops from
the mixer. The front panel power LED [57] will glow getting through to the speakers.
with happiness, or at least it will if you have the mixer
plugged into a suitable live AC mains supply. 22. Power Connection
Press the bottom of this switch to put the mixer into This is a standard 3-prong IEC power connector.
standby mode. It will not function, but some circuits are Connect the detachable linecord (included in the box
still live. To remove AC power, either turn off the AC with your mixer) to the power receptacle, and plug the
mains supply, or unplug the power cord from the mixer other end of the linecord into an AC outlet. The
and the AC mains supply. VLZ4 4•Bus Series Mixers have a universal power
supply that can accept any AC voltage ranging from
As a general guide, you should turn on your
100 VAC to 240 VAC. No need for voltage select switches.
mixer first, before any external power
It will work virtually anywhere in the world. That’s why
amplifiers or powered speakers, and turn it
we call it a “Planet-Earth” power supply! It is less
off last. This will reduce the possibilities of any turn-on,
susceptible to voltage sags or spikes, compared to
or turn-off thumps in your speakers.
conventional power supplies, and provides greater
electromagnetic isolation and better protection against
21. 48V Phantom Power AC line noise.
Most modern professional condenser mics require
Disconnecting the plug’s ground pin is
48V phantom power, which lets the mixer send
dangerous. Don’t do it.
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.
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 [58] to indicate that phantom power is active.
This is a global switch that affects all mic channels' XLR
jacks at once.
14 VLZ4 4•Bus

VLZ4 4•Bus Features
Front Panel - Channel Strip
4 GAIN 15 GAIN 16 GAIN 17 GAIN 18 GAIN 19 GAIN 20 LINE GAIN 21 LINE GAIN 23 SUCK
30 30 30 30 30 30 U 22 U 24 50%
U U U U U U
23 23
20 40 20 40 20 40 20 40 20 40 20 40 25% 75%
12V
0.5A
U 60 U 60 U 60 U 60 U 60 U 60 -20 +20 -20 +20 0% 100%
-20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB
24 44 44
U 2-TRACK RETURN USB OUT
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT CH 1-2 CH 3-4
100 Hz 100 Hz FX 1 FX 2 48V PWR
100 Hz 100 Hz 100 Hz 100 Hz
25 26 45
SOLO TAPE SUBS 1-2 SUBS 3-4
PAD PAD +20 USB MAIN AUX 5-6
-20dB -20dB COMP COMP COMP COMP USB TO LR
LEFT RIGHT
AUX MASTER STEREO RETURNS 0 dB=0 dBu
OFF MAX OFF MAX OFF MAX OFF MAX U U U
AUX 20
AUX AUX AUX AUX AUX AUX AUX AUX 1
1 10
U U U U U U U U
SOLO 7
+15 +15 +15
U U U
1 1 1 1 1 1 1 1 AUX 4
PRE PRE PRE PRE PRE PRE PRE PRE
2
+15 +15 +15 +15 +15 +15 +15 +15 2 2
U U U U U U U U 0
SOLO
+15 +15 +15
U U U 2
2 2 2 2 2 2 2 2 AUX
PRE PRE PRE PRE PRE PRE PRE PRE 3 4
27
+15 +15 +15 +15 +15 +15 +15 +15
3
U U U U U U U U 7
SOLO
+15 +15 +15
U U U 10
LEVEL
3 3 3 3 3 3 3 3 AUX SET
4 20
+15 +15 +15 +15 +15 +15 +15 +15

4 30
U U U U U U U U SOLO
+15 +15 +15
U U U
LR
4 4 4 4 4 4 4 4
5
28
+15 +15 +15 +15 +15 +15 +15 +15 RUDE SOLO
SOLO
PRE PRE PRE PRE PRE PRE PRE PRE +15 +15 +15
U
U U U U U U U U 1 2 SOLO MODE
6
5 5 5 5 5 5 5 5 SOLO PFL
FX1 FX1 FX1 FX1 FX1 FX1 FX1 FX1 SOLO SOLO
29
+15 AFL
+15 +15 +15 +15 +15 +15 +15 +15
U U U U U U U U
FX 1 FX 2
U U U U U
6 6 6 6 6 6 6 6
FX2 FX2 FX2 FX2 FX2 FX2 FX2 FX2 SIG/OL SIG/OL
30
+15 +15 +15 +15 +15 +15 +15 +15
FX FX FX FX FX FX FX FX
AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 +15 +15 +15 +15 +15
FX MASTER TO AUX 1 FX MASTER TO AUX 1 SOLO
EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U U U U
31
HI HI HI HI HI HI HI HI
12k 12k 12k 12k 12k 12k 12k 12k
TAP +15 TAP +15 +15

-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 DELAY DELAY
U U U U U U U U TO AUX 2 TO AUX 2 MONITOR
HI HI
32 35
MID MID MID MID MID MID MID MID U U U
2.5k 2.5k
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MUTE MUTE
800 800 800 800 800 800 U U
33 36
+15 +15 +15
Q FREQ FREQ FREQ FREQ FREQ FREQ LOW LOW TO LR TO LR PHONES
200 2k 200 2k 200 2k 200 2k 200 2k 200 2k MID MID
400Hz 400Hz SUBGROUPS TALKBACK
U
100 8k 100 8k 100 8k 100 8k 100 8k 100 8k -15 +15 -15 +15
U U U U U U U U
34
W LOW LOW LOW LOW LOW LOW LOW LOW
z 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
OFF MAX OFF MAX OFF MAX OFF MAX +15
COMP COMP COMP COMP LEVEL
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
STEREO STEREO
PAN PAN PAN PAN PAN PAN BAL BAL
PUSH
37
SOLO SOLO SOLO SOLO TO TALK
L R L R L R L R L R L R L R L R
LEFT LEFT LEFT LEFT AUX 1-4
15
MUTE
16
MUTE
38 17
MUTE
18
MUTE
19
MUTE
20
MUTE
21/22
MUTE
ALT 3-4
23/24
MUTE
ALT 3-4 RIGHT RIGHT RIGHT RIGHT MAIN
1 2 3 4 MAIN MIX
dB
10
OL dB
10
39 OL dB
10
OL dB
10
OL dB
10
OL dB
10
OL dB
10
OL dB
10
OL dB
10
dB
10
dB
10
dB
10
dB
10
5 -20 5
40 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5 5 5 5 5
O
U
SOLO
U
SOLO
41
U
SOLO
U
SOLO
U
SOLO
U
SOLO
U
SOLO
U
SOLO
U U U U U
5 5 5 5 5 5 5 5 5 5 5 5 5
10 43
1-2
10
1-2
10
1-2
10
1-2
10
1-2
10
1-2
10
1-2
10
1-2
10 10 10 10 10
20
30 3-4
20
30 3-4
42
20
30 3-4
20
30 3-4
20
30 3-4
20
30 3-4
20
30 3-4
20
30 3-4
20
30
20
30
20
30
20
30
20
30
40 40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50 50
60 LR 60 LR 60 LR 60 LR 60 LR 60 LR 60 LR 60 LR 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO OO OO
Owner’s Manual 15

AIN 15 GAIN 16 GAIN 17 GAIN 18 GAIN 19 GAIN 20 LINE GAIN 21 LINE GAIN 23
30 30 30 30 30 30 U 22 U 24
U U U U U U
40
23 20 40 20 40 20 40 20 40 20 40
23 12V
0.5A
U 60 U 60 U 60 U 60 U 60 U 60 -20 +20 -20 +20
20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB
U
LOW CUT
100 Hz 24 LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
LOW CUT
100 Hz
FX 1 FX 2
PAD
-20dB 25 PAD
-20dB 26COMP COMP COMP COMP USB TO LR
+20
AUX MASTE
OFF MAX OFF MAX OFF MAX OFF MAX U
UX AUX AUX AUX AUX AUX AUX AUX

1
U U U U U U U U
+15
Channel Controls 24.PRE

1 Low Cut
U
1 1 1 1 1 1 1
PRE PRE PRE PRE PRE PRE PRE
+15 +15 +15 +15 +15 All mono channels

+15 have a low-cut
+15 switch (often
+15 2
U U U U U U U U
The vertical channel strips look very similar, and referred to as a high-pass filter) that cuts bass U
+15
2 have only a few

2 differences between
2 them. Each2 2
frequencies 2 Hz at a rate of2 18 dB per octave.
below 100 2
channel +15
works independently, and just controls the 3
U
+15 +15 +15
signalsU plugged into theU inputs directly Ubehind it. We recommend U
+15
that you useU low-cut
U
+15
+15
on everyU +15
microphone application except kick drum, bass guitar, U
+15
3 3 3 3 3
or bassy synth patches. 3 These aside,3there isn’t much3
“U” like+15Unity gain +15down there that +15you want to hear, +15 and filtering it+15
4
U
+15
U U
+15
U
+15
U U U U
out
VLZ4 mixers have a “U” symbol on almost every level makes the low stuff you do want much more crisp and U
+15
4 control. It stands 4 for “unity gain,”4 meaning no 4change in 4 Not only that,4but low-cut can 4help reduce the 4
tasty.
signal level. The labels on the controls are measured in possibility of feedback in live situations, and it helps 5
+15 +15 +15 +15 +15 +15 +15 +15
PRE decibelsPRE(dB), so you’ll PRE know what you’rePREdoing PRE to conserve amplifierPRE power. PRE PRE U
+15
U level-wise
U if you chooseU to change a control’s U settings. U U U U
Another way to consider low-cut’s function 6
5 5 5 5 5 is that it FX1 5
actually 5
adds flexibility during live 5
FX1
23. Gain Control FX1 FX1 FX1 FX1 FX1 FX1
+15
+15 +15 +15 +15 +15 performances.
+15 With the +15 addition of low-cut, +15
U
If youU
haven’t already,U please read theU getting started U you can safelyU use low equalization U
on vocals. Many
U
FX
6 section on page 6 6. 6 6 6 bass shelving6EQ can really benefit
times, 6 voices. 6 U
FX2 FX2 FX2 FX2 FX2 FX2 FX2 FX2 SIG
+15 The gain +15 knobs adjust the +15 input sensitivity+15 of the mic +15 Trouble is, adding +15
low EQ also boosts
+15
stage rumble, +15
and AUX
line mic handling FXclunks and breath FX pops from way-down
5/6 inputs. ThisAUX allows signals from
AUX 5/6the outside AUX 5/6
FX FX FX FX FX FX
AUX 5/6 5/6 AUX 5/6 AUX 5/6 AUX 5/6 +15
world to be adjusted to run through each channel at low. Applying low-cut removes all those problems, FX MASTER
EQ EQ U EQ U EQ U so you can EQ add U low EQ without EQ U blowing your EQ subwoofers.
U
optimalU internal operating levels. U
HI HI HI HI HI HI HI HI
12k 12k 12k 12k 12k 12k 12k 12k
If the signal originates through the mic XLR jack, 25. Pad (-20 dB) Switch
-15 +15 there
-15 will
+15be 0 dB of-15
gain with the knob
+15 -15 fully
+15 down, -15 +15 -15 +15 -15 +15 -15 +15
TAP
DELAY
U U
ramping to 60
U
dB of gain fullyMID
up.
U
In most cases, U
the pad switch
U U
will be
HI disengaged. HI
U
MID MID MID

However, microphones and balanced2.5kline-level signals
MID MID MID MID
2.5k
Through the 1⁄4" line input of channels 1-20 that produce a higher output than usual may require
-15
800
+15
(2404VLZ4)
-15
800
+15
and channels
-15
800
+15
1-28 (3204VLZ4),
-15
800
+15
there is 20 -15
800
+15
that the gain -15
control
800
+15
[23] is-15 turned
U
+15
way down.
-15
UIf this is
+15 MUTE
FREQ dB of attenuation FREQ fully down FREQ and 40 dB of gainFREQ fully up, theFREQ
case, engage the pad switch to allow
FREQ LOW an additional LOW
MID MID
2k
with
200
unity 2kgain “U”200at 10:00.2k 200 2k 200
20 dB at the input to the mic preamp. This prevents
2k 200 2k
400Hz 400Hz
100 8k 100 8k 100 8k 100 8k 100 8koverloading 100 the8kmicrophone -15 preamp
+15 and provides
-15 +15 better
U
ThroughU
the 1⁄4" lineUinput of channels U
21/22 and U U U U
LOW LOW LOW LOW gainLOWcontrol. The pad LOWonly applies to XLR inputs, notLOW
LOW the
80Hz 23/24 (2404VLZ4) 80Hz and 29/30 80Hz and 31/32 (3204VLZ4), 80Hz 80Hz 80Hz 80Hz 80Hz
1/4" TRS inputs.
there is 20 dB of attenuation fully down and 20 dB of OFF
COMP
MAX
-15 +15
gain-15fully+15up, with unity
-15
gain
+15
“U” at 12:00.
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15
STER
N PAN PAN PAN PAN PAN BAL BAL
This 20 dB of attenuation can be very handy when you
SOLO
are inserting a hot signal, or when you want to add EQ
L R
gain,L or both.
R
WithoutL this
R
“virtual pad,”
L
there
R
is more L R L R L R L R
LEFT
chance of channel clipping. 21/22 23/24
15 16 17 18 19 20 MUTE MUTE
MUTE MUTE MUTE MUTE MUTE MUTE ALT 3-4 ALT 3-4 RIGHT
1
16 VLZ4 4•Bus
OL dB OL dB OL dB OL dB OL dB OL dB OL dB OL dB
10 10 10 10 10 10 10 10
-20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5

26. Compressor +20 COMP
Each of the last four mono channels in the

OFF MAX
VLZ4 4•Bus mixer has an in-line compressor circuit +15

with a variable threshold. This is very useful for
compression of vocals, and snare drums, for example,
OUTPUT SIGNAL STRENGTH dBu

COMP
+10 OFF MAX
so you might consider connecting your microphones

and drum mics to these channels, rather than other
channels. +5 COMP
SLOPE 6:1
OFF MAX
When the incoming signals exceed the threshold level +0 KN

EE
FT
set by this knob, the signal level is automatically SO
compressed. This reduces the dynamic range, and

-5 :1
E1
reduces the chance of distortion due to overloading the SL
OP
input signals.
-10
Dynamic range is the difference in level -10 -5 +0 +5 +10 +15 +20
INPUT SIGNAL STRENGTH dBu

between the quietest and loudest parts of a
song. A compressor “squeezes” the dynamic
range, resulting in an overall steadier, more constant
volume level for the signal. It helps sources, such as
vocals, “sit” properly in the mix; it is very useful for live At the maximum compression, the threshold is set at
sound. 0 dBu, and the input to output relationship is
The compression ratio is fixed at around 6:1, with represented by the lower curve. If the input is -5 dBu
a soft knee response. The threshold may be adjusted (that is, below the threshold), the output is -5 dBu. As
clockwise from off (no compression) to 0 dBu (max). the input reaches 0 dBu, the output is a bit less than
0 dBu. If the input is +5 dBu, the output is about
As an example, suppose the threshold is set to +2 dBu. If the input reaches +10 dBu, then the output
maximum. An incoming signal reaches the threshold of is +3 dBu. Notice the shapely curve of the soft knee
0 dBu. As it increases beyond the threshold, it becomes between the diagonal slope of x = y and the compressor
compressed at a ratio of 6:1. This means that even if the slope of 6:1 (the compression ratio).
input further increases by 6 dB, the actual output only
increases by 1 dB. This compresses the output signal, so The other blue curves represent in-between positions
there is more protection to your system from distortion of the compressor knob, with higher thresholds before
and overload due to poor microphone technique (say compression begins.
it ain't so) and general pops, bangs and heavy metal Outboard compressors often have controls such as
screaming. The soft knee means that the compression compression ratio, threshold, soft knee/hard knee,
slowly ramps up to 6:1 from the threshold. It does not attack time, and release time. These last two affect how
jump abruptly to 6:1, as this would be hard knee quickly the compressor kicks in when the input exceeds
compression, and harder on the ears too. the threshold, and how quickly it is released after it
The graph on this page shows the input signal level drops below the threshold. In this compressor, these
going into the compressor, versus the output level parameters are specially chosen to give you the best
coming out of it. It is the typical graph to see when overall performance.
compressors are discussed, and is just the kind of thing Adjust the threshold carefully, so your dynamic range
our engineers like to discuss during the company is still lovely, without distortion or overload during the
Christmas party*. performance. Run through a few practice screams and
If the compressor is off, then the input = output. For high-notes, and adjust the compression as required.
example an input signal level of +5 dBu results in an
output level of +5 dBu. The diagonal line from lower left
to upper right represents x = y, that is, input = output.
* My High School math teacher, Mr. Marvin, thought that

graphs might come in handy for me one day. Finally!
Owner’s Manual 17

SOLO TAPE SU
PAD PAD +20 USB
-20dB -20dB COMP COMP COMP COMP USB TO LR
AUX MASTER STEREO
OFF MAX OFF MAX OFF MAX OFF MAX U U
A
AUX AUX AUX 27. Aux Sends
AUX 1-6 AUX 29.
AUX Int FX 1-2
AUX/ Aux Sends
AUX5-6
1
U U U U U U U U
These controls allow you to set up These controls have dual functions depending on SOLO +15 +15
U U
1 1 1independent mixes,
to six PRE 1 1
typicallyPRE what your1 1any given time.
1
PRE needs are atPRE PRE They allow you
A
PRE PRE PRE
U
+15
U
+15 for running stage monitors or
U
+15
U
+15
U
+15 to send signal either to internal effects FX1 and FX2,
U
+15
U
+15 2 or
U
+15
external effects processors. to aux 5 and aux 6, typically used for running stage SOLO U
+15
U
+15
2 2 2 2 2 2 or external effects
2 2 A
monitorsPRE processors.
27
+15 +15
The controls are off when turned
+15 +15 +15 +15 +15 +15
3
fully down, deliver unity gain at the Aux Sends 5-6 (or FX1-2) are post-fader. Any changes
U U U U U U U U
SOLO
+15 +15
U U
A
3 3 center,3 and can provide
3 up to 15 dB 3 made to 3the channel controls
3 will affect
3 the signal going
U
+15
U
+15 of gain turned fully up. Chances are
U
+15
U
+15
U
+15 to the internal effects processors or to the aux 5-64
U
+15
U
+15
U
+15
SOLO
that you will never need this extra output jacks [13]. Adjustments to the channel fader U
+15
U
+15
4 4 4 it's nice to 4know that it's4

gain, but 4 [23] and channel
[43], gain 4 4
EQ [31-36] will affect the
5
PRE
+15
PRE
+15
28 there if you do.
PRE
+15
PRE
+15
PRE
+15 feed going to the internal effects processors.
PRE
+15
PRE
+15
SOLO
PRE
+15
U
+15 +15
U U
Aux Sends 1-6 [13] are line-level
U U U U U U 1
5 5 outputs,5 and are used 5 if you want 5

30. Int FX
5
/ Aux 5-6 5Switch 5
6
29
FX1 FX1 FX1 FX1 FX1 FX1 FX1 FX1 SOLO SOLO
+15 +15
to connect external processors,
+15 +15 +15
This switch determines if that channel's controls
+15 +15 +15
+15
U U U
powered stage monitors, or external
U U U U
FX 1
[29, above] will be used for running the internal effects
U
U U U
6
FX2
6
FX2
powerFX26amps with passive
6
FX2
stage FX2 6 processors
6
FX2
(engaged) FX2
or as aux 5-6 (disengaged).
6 6
FX2 SIG/OL
monitors. Stereo Returns 1-2 [5]

FX
AUX 5/6
+15
FX
AUX 5/6
+15
30 FX
AUXare
5/6
+15
FX
line-levelAUXinputs,
5/6 typically
FX
AUX 5/6 used
+15 +15
FX
+15
Channel Equalization (EQ)

AUX 5/6
FX
AUX 5/6
+15
FX
AUX 5/6
+15
+15 +15
FX MASTER TO AUX 1 FX MAS
EQ EQ EQ to return the EQ output from EQexternal EQ EQ EQ
U U U U U
All VLZ4 4•Bus mono channels have 3-band EQ with
U U U U
HI
12k 31 HI
12k
processors
HI back to the HI main mix. HI
12k 12k 12k
HI HI
shelving 12khigh, peaking 12k
HI
mid with adjustable
12k mid
-15 +15 -15 +15 -15
Carefully adjust how much of each
+15 -15 +15 -15 +15
frequency and shelving low. The stereo channels
-15 +15 -15
TAP
+15
DELAY
have -15 +15 +15 TAP
DELAY
U U U U U U U TO AUX 2 U
channel appears in your aux mixes. hi-mid and peaking
peaking MID low-mid EQ controls in
32
HI HI
MID MID MID MID MID MID MID U
For example, if you are running addition to the shelving2.5khigh and shelving
2.5k
low EQ
-15
800
+15 -15
800
+15 -15 stage monitors, and someone wants
800
+15 -15
800
+15 -15
800
+15 controls.
-15
800
+15 -15
U
+15
MUTE -15
U
+15 MUTE
200 2k
FREQ
33 200 2k
FREQ
200
“moreFREQ
me, and less them,”
these carefully.
2k
FREQ
200
adjust FREQ
Shelving means that the circuitry boosts or cuts all TO LR
2k 200 2k 200
SUBGROUPS
2k
FREQ LOW
MID
400Hz
LOW
MID
400Hz
+15
100 8k 100 8k 100 8k

frequencies past the specified frequency. For example,
100 8k 100 8k 100 8k -15 +15 -15 +15
AuxLOW
sends 3-4 canLOW or the low EQ
either be pre LOW LOW boosts bassLOW frequencies below 80 Hz and
U U U U U U U U
LOW
80Hz 34 LOW
80Hz 80Hz
post fader, 80Hz
depending 80Hz
on the position 80Hz
continuing down to the80Hzlowest note you
LOW
80Hz
never
OFF
heard.
MAX OFF MAX OFF
-15 +15 -15 of the aux pre/post switches [28].
+15 -15 +15 Peaking means that certain frequencies form a “hill”
-15 +15 -15
COMP
+15
STEREO
COMP
-15 +15
COM
-15 +15 -15 +15
PAN PAN channelPAN For stage monitor

Mono PAN work, PAN
use pre, so PAN around the centerBAL frequency. BAL
the stage monitors do not increase in SOLO SOLO SOL
With too much EQ, you can really upset things.
volume when the channel level is adjusted. For external
We’ve designed a lot of boost and cut into each
L R
processors, use post. In this way, the feed to external
L R L R L R L R
LEFT
L
LEFT
R
LEF
L R L R
15 16 will vary 17 18 level, keeping

19 equalizer
20 21/22
circuit because we 23/24
know that everyone
processors with the channel MUTE MUTE
MUTE MUTE MUTE MUTE MUTE will occasionallyALTneed
MUTE 3-4 that. But ALTif
3-4you max the RIGHTEQ
them in the same ratio (wet/dry). RIGHT RIGH
on every channel, you’ll get mix mush. Equalize 1 subtly 2 3
and use the left sides of the knobs (cut), as well as the
dB
10
OL
28.
dB Pre-Fader
10
OL
/dB10 Aux Sends
OL
1-2
dB
10
OL dB
10
OL dB OL
10 right (boost).
dB OL dB
10 If you find yourself
10
OL
repeatedly
dB
10 using a 10
dB dB
10
5 5
Aux sends 1-25
are always pre-fader,
5
designed
5
for 5
lot of boost or5
cut, consider 5
altering the sound
5
source, 5 5
-20 -20 -20 -20 -20 -20 -20 -20
stage monitor applications. Aux sends 3-4 may be set such as placing a mic differently, trying a different kind
U
toU pre- or post-fader,
U
so they may
U
be used forU monitors U
of mic, a different
U
vocalist, Uchanging the strings, U
or U U
SOLO 5 SOLO 5 SOLO 5 SOLO 5 SOLO 5 SOLO 5 SOLO 5 SOLO 5

5 or effects. gargling. 5 5
10 10 10 10 10 10 10 10 10 10 10
1-2 Pre-fader:1-2 with the pre 1-2switch engaged 1-2 (pressed in,1-2 1-2 1-2 1-2
20 not commited to marriage), aux 3 and 4 deliver
20 20 20 20 signals 20 20 20 20 20 20
30 3-4 post-insert,
30 3-4post-low
30 cut, 3-4post30EQ, post-mute
3-4 30 and 3-4 30 3-4 30 3-4 30 3-4 30 30 30
40 pre-fader.
40 Any changes
40 made to
40 the channel controls,
40 40 40 40 40 40 40
50
60 LR except
50
60
the Lfader,
R
50
60
will affect
L R the
50
60
aux sendL R signal.
50
60 LR
50
60 LR
50
60 LR
50
60 LR
50
60
50
60
50
60
O OO OO OO OO OO OO OO OO OO OO
Post-fader: with the pre switch disengaged (up),

aux 3 and 4 deliver signals post-insert, post-low cut,
post-mute, post-EQ and post-fader. Any changes made
to the channel controls will affect the aux send signal.
18 VLZ4 4•Bus

SO
PAD PAD PAD +20
-20dB -20dB -20dB COMP COMP COMP COMP USB TO LR
AUX MASTER
OFF MAX OFF MAX OFF MAX OFF MAX U
AUX 31.AUX
High EQ AUX AUX AUX 37.
AUX Pan AUX AUX AUX
1
U U U U U U U U U
The high EQ provides up to +15 This control allows you to adjust +15
SO
U
115 dB of boost1 or cut above 1 1 1 +10
how muchPRE 1of the channel1 signal 1 1
12 kHz, and it is also flat (no is sent to the left versus the right 2
+5
+15 +15 +15 +15 +15 +15 +15 +15 +15
U U 0 U U U U U U U
boost or cut) at the detent. –5

outputs. U
+15
SO
2 2 2 2 2 2 2 2 2
PREUse it to add PRE
sizzle to cymbals,
27
PRE PRE PRE –10 PRE PRE PRE PRE
With the knob panned hard left, 3
+15
an overall sense of +15 +15 –15 +15 +15 +15 +15 +15 +15
the signal feeds the main left,

U U U U U U U U U
20Hz 100Hz 1kHz 10kHz 20kHz SO
transparency, or an edge to U
+15
3 3 3 3 3 group 1, or3group 3 busses,3 3 3

keyboards, vocals, guitar and bacon frying. Turn it down 4
depending on the setting of the
U
+15
a little to reduce sibilance or to mask tape hiss.
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
SO
assign switches [42]. With the knob U
+15
4 4 4 4 4 panned hard 4 right, the signal

4 feeds 4 4
32. Mid EQ And 33. Freq (Mono Channels Only) 5
PRE
+15
The monoPRE
+15
channels employ
PRE
+15
+15
PRE
+15
PRE
+15 the main right, group 2, or group 4
busses,
PRE
+15
again dependent
PRE
on the PRE
+15 +15
PRE
+15
28 U
+15
SO
U U U U U U U U U
a semi-parametric mid-sweep +10

setting of the assign switches [42]. 6
5 5 5 +5 5 5 5 5 5 5
FX1EQ. The gainFX1 (up to 15 dB of
29
FX1 FX1 FX1 FX1 FX1 FX1 FX1 SO
0
The balance control employs a +15
U
+15
boost or cut) is set via the mid
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
U
+15
FX 1
–5
design called “Constant Loudness.”
eq [32], and then “aimed” at a –10 U
6 6 6 6 6 If you haveFX2 6 a channel panned 6 hard 6 6
FX2
specific frequency,
FX2
from FX2 –15 FX2 FX2 FX2 FX2 FX2 SIG/OL
left (or right) and then pan to the

30
20Hz 100Hz 1kHz 10kHz 20kHz
100 Hz toFX 8 kHz, via freq

FX [33].
+15 +15 +15 +15 +15 +15 +15 +15 +15
FX FX
center,
AUX 5/6 the signalAUX
FX
is5/6attenuated AUX 5/6
FX FX FX FX
AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 +15
FX MASTER
EQ EQ EQ EQ EQ about
EQ 3 dB to maintain
EQ the same
EQ EQ
U
34. Low EQ U U U U U U U U
HI
12k
The low EQ provides up to
HI
12k
HI
12k
+15
HI
12k
HI
12k
apparent loudness.
HI
12k
Otherwise,
would make the sound appear much
HI
12k
it HI
12k 31 HI
12k
TAP
-15
U
+15
15 dB of boost or cut below
-15
U
+15 -15
U
+15 +10 -15
U
+15 -15
U
+15
louder when panned center. This
-15
U
+15 -15
U
+15 -15
U
+15 -15
U
+15 DELAY
35
HI HI
80 Hz. The circuit
MID MID is flat at MID MID
+5
MID control is properly
MID calledMID“BAL” for MID
2.5k
MID
2.5k
0
the center detent position. –5
balance in the stereo channels.
This frequency represents the
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MUTE
800 800 800 800 800 800 800 U U
36
–10
Q
200 2k
punch in bassFREQdrums, bass FREQ
FREQ
200 2k 200
FREQ
2k
–15
200
20Hz 100Hz
2k 200
1kHz
2k
FREQ
10kHz 20kHz
38. Mute
200 2k
FREQ
200 2k
FREQ LOW
MID
LOW
MID
400Hz 400Hz
guitar, fat synth patches, and
100 8k 100 8k 100 8k 100 8k 100 8k
Mute switches do just what they
100 8k 100 8k -15 +15 -15 +15
U
some really serious
U
male singers who eat raw beef for
U U U U U U U
z
LOW
breakfast. 80Hz
80Hz
LOW LOW
80Hz
LOW
80Hz
LOW
80Hz sound like80Hzthey do. They80Hz
LOW
turn off the
LOW LOW
80Hz34 LOW
80Hz
signal by “routing” it into oblivion. OFF
COMP
MAX
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15
Engaging a channel's mute switch
-15 +15 -15 +15 -15 +15 -15 +15
STEREO
PAN 35.PAN
High Mid EQ PAN
Level (Stereo PAN
Channels Only)
PAN PAN
(almost) PAN
provides BAL
the same results BAL
The high mid EQ provides +15 as turning the fader all the way 37 SOLO
L R up to 15 dB of boost or cut
L R L R
+10
L R L R down (a pre-aux send is not affected
L R L R L R L R
38
LEFT
at 2.5 kHz, and it is flat at +5
by the channel fader, but it is by 21/22 23/24
14 15 16 0 17 18 19 20 MUTE MUTE
MUTE the detent.
MUTE MidrangeMUTE EQ is MUTE MUTE –5
the mute
MUTE switch). MUTEAny channel ALT 3-4 ALT 3-4 RIGHT
often thought of as the most –10 assignments to main mix, group 1-2, 1
OL
dynamic because the
frequencies
OL
that define any
OL OL
–15
20Hz 100Hz 1kHz 10kHz 20kOL
Hz
or group 3-4 will be interrupted and
all
OL OL OL 39 OL
10 of the aux sends will be silenced
dB dB dB dB dB dB dB dB dB dB d
10 10 10 10 10 10 10 10 10 1
5
particular sound are almost always found within this
-20 5 -20 5 -20 5 -20 5 -20
(both pre- and post-fader). The
5 -20 5 -20 5 -20 5
40 -20 5 5
range. For example, the female vocal range as well channel insert [3] will continue to
U
as the
U
fundamentals U
and harmonics
U
of many U provide
U
a signalU when a channel U U 41
U U
O higher-timbred
SOLO SOLO instruments.SOLO SOLO 5 SOLO is5 muted.SOLO
The OL LED [39]
SOLO will SOLO SOLO
43
5 5 5 5 5 5 5 5 5
10 10 10 10 10 illuminate
10 when10 a channel's mute
10 10 10 1
36.20Low Mid EQ Level

1-2
(Stereo Channels
1-2
Only)20
1-2 1-2 1-2
switch is engaged.
1-2 1-2 1-2 1-2
20 20 20 20 20 20 20 42
20 2
The low mid3-4 EQ30provides3-4 up 30

39. OL LED3-4
30 3-4 30 +15 3-4 30 3-4 30 30 3-4 30 3-4 30 3-4 30 3
40
to 15
40
dB of boost or
40
cut at 40
+10
40 40 40 40 40 40 4
50
60 LR
4005060Hz, and isL Rflat5060at the L R 5060 +5
LR
50
60 LR
50
60
This LEDL R indicates
50
60
theL Rchannel’s
50
60 LR
50
60 LR
50
60
5
6
0
OO
detent. Frequencies affected
OO OO OO
–5
OO
signal level after the gain and EQ
OO OO OO OO OO
typically include the male –10 controls, but just before the
vocal range as well as the –15
channel’s level. So even if the level Stereo channel
20Hz 100Hz 1kHz 10kHz 20kHz
fundamentals and harmonics is turned down, you can see if the

of many lower-timbred instruments. channel is being overloaded.
Owner’s Manual 19

The OL (overload) LED will come on when the With the pan knob at the center detent, the left and
channel’s input signal is too high. This should be right sides receive equal signal levels (main mix L-R,
avoided, as distortion will occur. If the OL LED comes group 1-2, and group 3-4). To feed only one side or the
on regularly, check that the gain control [23] is set other, turn the pan knob accordingly.
correctly for your input device, and that the channel
If you are doing a mixdown to a 2-track, for example,
EQ is not set with too much boost. The OL LED will
simply engage the main mix switch on each channel
also illuminate when a channel's mute switch [38] is
that you want to hear, and they will be sent to the main
engaged.
mix bus. If you want to create a group of certain
channels, engage either the 1-2 or 3-4 switches instead
40. SIG LED of the main mix, and they will be sent to the appropriate
This LED also indicates the channel’s signal level group faders. From there, the groups may be sent back
after the gain and EQ controls, but just before the to the main mix (using the group assign switches [73]
channel’s level. So even if the level is turned down, you above the group faders [74]), allowing you to use the
can see if a signal is present. group faders as a master control for those channels.
The SIG (signal) LED will come on when the If you are creating new tracks or bouncing existing
channel’s input signal (at least -20 dBu) is present. ones, you will also use the 1-2 and 3-4 switches, but not
It should illuminate non-stop if signal above 0 dBu is the main mix switch. Here you do not want the groups
present in that channel. This LED will be solid when a sent back into the main mix bus, but sent out, via the
channel's solo switch [41] is engaged. group out jacks [11], to your multitrack inputs.
41. Solo 43. Channel Fader

Whenever a channel's solo switch is engaged, you This is the last control in a channel’s signal path, and
will hear only the soloed channel(s) in the headphones it adjusts the level of each channel onto the main mix.
and monitor outputs. This gives you the opportunity to The “U” mark indicates unity gain, meaning no increase
audition the channels before they are added to the main or decrease of signal level. All the way up provides an
mix. In PFL mode you can hear the solo signal, even additional 10 dB, should you need to boost a section of
when the channel's fader is down. a song. If you find that the overall level is too quiet or
too loud with the level near unity, check that the gain
Solo is also used to set the gain of each channel
control [23] is set correctly.
correctly. When a channel is soloed, adjust the
channel gain [23] until the input source reaches
the level of the 0 dB LED of the left meter. Select 44. FX1 and FX2
PFL on the SOLO MODE switch [60] for gain setting. When engaged, these switches, located just below the
stereo channels' gain controls [23], indicate that you
Solo signals reaching the headphones and
want to return the internal FX processor signal to the
monitor outputs are not affected by the
stereo channel. The TRS inputs are disengaged when
channel level (unless the SOLO MODE switch
the switch is depressed.
is set to AFL) or main level; therefore, turn down the
phones level [69] and monitor level [68] first, as soloed Remember to turn the FX processor level
channels may be loud. controls to aux 1/2 and main all the way down
to avoid double-bussing the FX return.
The rude solo light [59] will turn on as a reminder
that what you are listening to in the headphones and See Appendix E (page 37) for a list of the effects
control room is just the soloed channel(s), 2-track provided and a description of each one.
return, stereo return(s), aux(es), and/or group(s). If
the solo source is an input channel, that channel's SIG 45. USB Switch
(signal) LED [40] will illuminate when that channel is
The USB switch on the last stereo channel provides
soloed.
stereo playback of iTunes®, or a DAW via the USB
connection. Like any other input, this signal may also
42. Assign be EQ'd, sent to an aux bus, or mixed in with the other
Alongside each channel fader are three buttons signals and assigned to subgroups or main outs. This
referred to as channel assignment switches. Used in switch overrides both the TRS inputs [5] and the FX2
conjunction with the channel's balance knob [37], they switch [44].
are used to determine the destination of the channel's
signal.
20 VLZ4 4•Bus

LINE GAIN 23
U 24 SUCK
50% So, the original unprocessed “dry” signals go from
the channels to the main mix, and the processed “wet”
46 47
25% 75%
12V
0.5A
signals go from the stereo returns to the main mix, and
-20 +20 0% 100%
once mixed together, the dry and wet signals combine to
2-TRACK RETURN USB OUT create a glorious sound!
U
FX 2 CH 1-2 CH 3-4 48V PWR
48 49 50 SOLO TAPE SUBS 1-2

51 SUBS 3-4
56 57 Pre-fader aux sends are typically used to provide
+20
USB TO LR
USB MAIN AUX 5-6
LEFT RIGHT
another mix for stage monitors. If no external effects
AUX MASTER STEREO RETURNS
U U
AUX
U
0 dB=0 dBu are being used, the stereo returns can be used as
AUX 1
20
additional stereo inputs, or not used at all.
1 10
U
58 Read on to learn more about these features...

SOLO 7
+15 +15 +15
U U U
1 AUX 4
PRE
2
2 2
U
+15
SOLO 0 46. Lamp
+15 +15 +15
U U U
This female BNC connector provides 12 volts DC with
2
2 AUX
54
PRE 3 4
+15
3 the center pin positive. Connect any quality gooseneck
7
52 53
U
U
+15
SOLO
U
+15
U
+15
LEVEL
10 lamp here.
3 AUX SET
4 20
4
U
+15
+15
SOLO
+15 +15
30
47. Suck Knob
U U U
LR
If the band performing asks you if you can make them
+15
4
5 59 RUDE SOLO sound better, reply with a resounding “yes, indeed I can
SOLO
PRE U
+15 +15 +15
make you sound better...I will turn down the Suck Knob
U 1 2 SOLO MODE
[47] which will do wonders for your band!”
5
6 55 60
FX1
+15
SOLO SOLO SOLO PFL
AFL As seen, it is broken down in percentages, from 0%
+15
U
FX 1 FX 2 suck (turned fully counter-clockwise) to 100% suck
6
U U U U U
(turned fully clockwise). This way you get to determine
2-Track, USB, Aux Masters
FX2 SIG/OL SIG/OL
+15
the 'Suck Factor Percentage' (SFP) of the band.
and Meters
FX
AUX 5/6
FX MASTER
+15
TO AUX 1
+15
FX MASTER
+15
TO AUX 1
+15
SOLO
+15
If they follow instructions, buy you beers, and are a
EQ U U U U swell bunch, turn the knob counter-clockwise. If the
HI
12k This section includes the 2-track returns, USB, aux drummer hits the snare drum or the guitarist does a
masters
TAP and stereo returns,
TAP and the meters. A 4x2 USB
+15 +15 +15
screaming harmonic dive-bomb while you're setting up
-15 +15
U
HI
DELAY
recording and TOplayback
AUX 2 DELAY
function is at TOyour
AUX 2
disposal.
MONITOR
mics on their respective equipment (and thusly helping
MID
2.5k This means up to four signals may be recorded
U U U
to ruin your hearing...huh?), feel free to crank the knob
-15 +15 simultaneously
MUTE
and a stereo
MUTE
mix returned to the mixer clockwise.
U
LOW
for playback. +15 +15 +15
TO LR TO LR PHONES
MID
400Hz SUBGROUPS TALKBACK 48. 2-Track Return Level
-15 +15
The six auxes receive signals from the channels via U
U
the channel aux sends [27, 29]. Auxes 1-4 may also be This knob controls the overall level to the mains of
LOW
80Hz
fed from stereo returns 1-2 [54] and talkback [70, 71] the tape (RCA) or USB, depending on the position of
-15 +15
OFF
andCOMP
MAX
aux 1-2
OFF
may COMP
MAX OFF
get internal COMP
MAX
effects
OFF
processor
COMP
MAX
output
LEVEL
+15
the 2-track return tape/USB switch [50]. This knob's
STEREO STEREO
BAL via the FX to AUX controls [62]. Any or all of these level ranges from off, through unity (center detent
signals
SOLO are mixed SOLO together, SOLO
sautéed to aSOLO turn and TO sent
PUSH
TALK
position), on up to 20 dB of extra gain (fully clockwise).
out the aux send jacks [13] after the optimum output
L R
levelLEFTis determined LEFT by the aux LEFT masters [52]. LEFT Aux AUX
sends
1-4 49. 2-Track Return Solo
23/24 from the channels are pre-fader (aux 1-2), selectable
MUTE
ALT 3-4 This switch sends the 2-track return (tape or USB,
pre-RIGHT
or post-fader RIGHT(aux 3-4), and post-fader
RIGHT RIGHT (aux 5-6).MAIN
1 post-EQ.2 3 4 MAIN MIX depending on the position of the switch[50]) to the

All are
solo bus.
OL
B
0
dB
10 Post-faderdB10aux sends may
dB
10 be fed todB10the inputsdB10of an
external processor like a reverb or digital delay. From
5 5 5 5 5
50. 2-Track Return Tape/USB
-20
there, the outputs of this external processor are fed
This determines if the 2-track return gets its signal
U back
U to the mixer’s
U stereoU return jacksU [5]. Then U these
from the RCA “tape” inputs (switch disengaged) or
SOLO signals
5 are sent
5 through the
5 stereo return
5 level 5controls
USB (switch engaged).
0
[54],
10
and finally
10
delivered
10
to the main10
mix or to10auxes
1-2
1-4 to add effects to monitors if so desired by the talent
0 20 20 20 20 20
[“More me! More reverb!”].
0 3-4 30 30 30 30 30
0
0
40
50
40
50
40
50
40
50
40
50 Owner’s Manual 21
0 LR 60 60 60 60 60
OO OO OO OO OO

NE GAIN 23
U 24 SUCK
50% 53. Master Aux Sends Solo
This button allows you to solo an individual aux send.
46 47
25% 75%
12V
20 +20
0.5A
0% 100%
If you are using the aux sends to feed your stage
monitors, you may use these buttons to check your
FX 2 CH 1-2 CH 3-4 48V PWR
monitor mix. The rude solo LED [59] will flash to let
48 49 50 SOLO TAPE SUBS 1-2
51 SUBS 3-4
56 57 you know the solo system is active.
+20 USB MAIN AUX 5-6
USB TO LR
AUX MASTER STEREO RETURNS
LEFT RIGHT
0 dB=0 dBu
The aux send solo is AFL and is not affected by the
U U
AUX
U
20 solo mode switch (PFL/AFL) [60], except that in PFL
X 1
U
1 10 mode only the left meter indicates the signal.
58
SOLO 7
+15 +15 +15
U U U
1 AUX
54. Stereo Returns 1-2 to Aux 1-4/Main
4
PRE
2
+15 2 2
U
+15
SOLO
+15 +15
0
These ten controls set the overall level of line signals
U U U
2 AUX
2
received from the stereo return 1-2 inputs [5]. These
54
PRE 3 4
+15
3
7
controls range from off to +15 db of gain when fully
52 53
U
U
+15
SOLO
U
+15
U
+15
LEVEL
10
clockwise, to compensate for low-level effects.
3 AUX SET
4 20
+15
4 30
Signals passing through these controls go directly to
U
U
+15
SOLO
U
+15
U
+15 the main mix and aux 1-4 buses where they are
LR combined with signals from the channels.
+15
4
5 59 RUDE SOLO
SOLO
U
PRE U
+15
1
+15
2
+15
SOLO MODE
55. Stereo Returns Solo
5
6 55 60 This button allows you to solo a stereo return. The
FX1
+15
SOLO SOLO SOLO PFL
AFL rude solo LED [59] will flash to let you know that the
+15
U
FX 1 FX 2 solo system is active. Since this is an input, this signal is
6
U U U U U
affected by the PFL/AFL master switch.
FX2 SIG/OL SIG/OL
+15
FX
AUX 5/6 +15 +15 +15 +15 +15 56. 48V LED
51. USB OutTO AUX 1
FX MASTER FX MASTER TO AUX 1 SOLO
U U U U Most modern professional condenser mics require

HI These two switches allow for monstrous flexibility on 48V phantom power, which lets the mixer send
12k
the four recordable signals. The default switch low-current DC voltage to the mic’s electronics
TAP TAP
15
U
+15
HI
configurationTO(disengaged)
DELAY AUX 2 DELAY routes subgroups
+15
TO AUX 2 1-4 over
MONITOR
+15 +15
through the same wires that carry audio. (Semi-pro
MID
2.5k
the USB connection to your favorite DAW software for
U U U
condenser mics often have batteries to accomplish the
a “mix it later” 4-track recording. Engaging the switch same thing.) “Phantom” owes its name to an ability to
15 +15
on the left allows the main L-R mix to be recorded for
MUTE MUTE
U
+15 +15 +15
be “unseen” by dynamic mics (Shure SM57/SM58, for
LOW
MID convenient stereo
TO LR mixes of the show.TO The
LR other PHONES
switch instance), which don’t need external power and aren’t
400Hz SUBGROUPS TALKBACK
15 +15
allows aux 5/6 to be sent to the DAW for a unique stereo U
affected by it anyway.
U
LOW
recording or the use of DAW plug-ins as effects.
80Hz Phantom power for all mic inputs (except the
15 +15
OFF
COMP
MAX OFF
COMP
MAX OFF
COMP
MAX OFF
COMP
MAX
LEVEL
+15
talkback mic) may be selected by pressing up on
STEREO STEREO
L
the mixer's phantom [21] switch.
52. Master Aux Sends 1-6 PUSH
Never plug single-ended (unbalanced)
These knobs provide overall control over the aux send microphones, or ribbon mics into the mic
levels, just before they areLEFT
delivered toLEFTthe aux send
L R
3/24
LEFT LEFT AUX 1-4
input jacks if phantom power is on. Do not
MUTE outputs [13]. These knobs go from off to +15 db when plug instrument outputs into the mic XLR input jacks
ALT 3-4
turned
RIGHT
all theRIGHT
way up. RIGHT RIGHT MAIN
with phantom power on, unless you are certain it is safe
1 2 3 4 MAIN MIX
This is usually the knob you turn up when the lead to do so.
OL dB dB dB dB dB
10 singer glares
10 at you, points
10 at his stage
10 monitor,
10 and
sticks his thumb up in the air. (It would follow that if 57. Power LED
-20 5 5 5 5 5
the singer stuck his thumb down, you’d turn the knob This green LED will illuminate when the mixer is
U U U U U
down, but that never happens.) turned on, as a reminder of how on it really is. If it is
SOLO 5 5 5
Keep in mind that aux sends 3-4 may either be
5 5
not on, then it is off, and the mixer becomes a rather
1-2
10 10 10 10 10
pre- or post-fader, depending on the position nice weight for keeping your morning newspaper from
20 of
20 the channel's
20 aux pre/post
20 switch20[28]. blowing away in the wind.
3-4 30 30 30 30 30 If it does not turn on, make sure the power cord is
22 40
50 VLZ4 4•Bus 40
50
40
50
40
50
40
50
correctly inserted at both ends, the local AC mains
LR 60
OO
60
OO
60
OO
60
OO
60
OO
supply is active, and the power switch [20] is on.

58. Left/Right Level Meters 60. Solo Mode
These peak meters are made up of two columns of Engaging a channel's solo switch [41] will cause this
twelve LEDs, with three colors to indicate different dramatic turn of events: Any existing source selection
ranges of signal level, traffic light style. They range from is immediately replaced by the solo signal, appearing
–30 at the bottom, to 0 in the middle, to +20 (CLIP) at at the monitor outputs [15, 16], phones [17] and at
the top. the left meter [58] (left and right meters when in AFL
solo mode). The audible solo levels are then controlled
When a channel is soloed in PFL, the right meter
by the solo knob [67]. The discrete level controls for
shows no reading, and the left meter shows the level of
headphones and monitor outputs are dependent on
that channel’s signal level, pre-fader.
what is plugged in.
In AFL, both left and right meters illuminate to
With the solo mode switch in the up position, you are
indicate the 'After Fader Level' of the signal and stereo
in PFL mode, meaning Pre-Fader Listen. This mode is
imaging. AFL is always used for outputs, regardless
required for the “Set the Levels” procedure and is handy
of the position of the PFL/AFL master switch, as you
for quick spot-checks of channels, especially ones that
always want to view the output level after the fader.
have their faders turned down. PFL mode is only
The left meter's 0 dB LED is labeled “level set” to available to input signals. While in PFL mode, if an
show where the level should be when adjusting a output is soloed, its signal will show up, but it will
channel’s gain [23] in the solo mode (as described in be an AFL signal.
“Set the Levels” on page 6).
With the solo mode switch down, you are in AFL
When 0 dBu (0.775 V) is at the main left and right mode, meaning After-Fader Listen. You will be able
TRS outputs [7], it shows as 0 dB on the meters. to hear the stereo output of the soloed channel – it
will follow the channel's fader [43] and balance [37]
You can get a good mix with peaks flashing anywhere settings. It is similar to muting all of the other channels,
between –20 and +10 dB on the meters. Most amplifiers but without the hassle. AFL mode is the only soloing
clip at about +10 dBu, and some recorders aren’t so mode for subgroups and aux masters. Subgroups 1-2
forgiving either. For best real-world results, try to keep or 3-4 may be soloed simultaneously for a true stereo
your peaks between “0” and “+7.” Remember, audio image.
meters are just tools to help assure you that your levels
are “in the ballpark.” You don’t have to stare at them AFL is a new feature available to channel inputs and
(unless you want to). provides a mixdown solution that allows soloing the mix
as it is on the faders.
59. Rude Solo Light In PFL mode, solo will not be affected by a channel's
This large red LED flashes when one or more solo mute switch [38] position.
switches are engaged [41, 49, 53, 55, 73]. This acts as
Remember, PFL mode taps the channel signal
a reminder that what you hear in the control room and
before the fader. If you have a channel's fader
headphones is the soloed channel(s), 2-track return,
set way below “U” (unity gain), solo will not
stereo return, aux(es), and/or group(s). If you forget
know that and will send a unity gain signal to the
that you are in solo mode, you can easily be tricked
monitor outputs [15, 16], phones output [17], and
into thinking that something is wrong with your mixer.
meter display [58]. That may result in a startling level
Hence, the rude solo light. Please forgive its rudeness,
boost at these outputs when switching from AFL to PFL
it is only trying to help, and wants to be your friend.
mode, depending on the position of the solo level
knob [67].
Owner’s Manual 23

U 1 2 SOLO MODE
6
5 SOLO PFL
FX1 SOLO SOLO
63
+15 AFL
+15
U
FX 1 FX 2 Or the FX returns may be routed to the stereo input
6
FX2
U
SIG/OL
U U
SIG/OL
U U
channels[23/24 on the 2404 VLZ4, 31/32 on the 3204
FX
+15
61 +15 +15 +15 +15
67 +15
VLZ4], using the the FX1 and/or FX2 switches [44].
This allows for way more flexibility. For example, you
AUX 5/6
Q U U U U
can EQ the FX and send them to any aux, group, or
HI
12k 64 62 68
main. Just remember to turn the 'to aux 1', 'to aux 2'
and 'to main' knobs [62] fully counter-clockwise to
-15 +15
TAP
DELAY TO AUX 2
+15 TAP
DELAY
+15
TO AUX 2 MONITOR
+15
avoid double-bussing.
65
U
HI
MID
2.5k
U U U
The talkback feature allows the engineer to
-15 +15 MUTE MUTE
69 communicate with the talent either through the phones
66
U
LOW
+15 +15 +15 output [17] or the aux 1-4 send outputs [13] using
TO LR TO LR PHONES
MID
400Hz SUBGROUPS TALKBACK an external talkback microphone. This saves a lot of
-15
U
+15
U
shouting over the audience's heads as you set up the
LOW
80Hz 72 70 talented one's stage monitors to their peculiarly-picky
satisfaction.
-15 +15
STEREO STEREO
AL
PUSH 61. FX1 and FX2 Send Master
73 These knobs control the level of the signals going into

23/24
L R
LEFT LEFT LEFT LEFT
71 AUX 1-4 each internal effects processor. Adjust them carefully,
keeping an eye on the adjacent sig/ol LED [63] to
MUTE
ALT 3-4 RIGHT RIGHT RIGHT RIGHT MAIN prevent overloading the effects processor.
1 2 3 4 MAIN MIX
B OL dB dB dB dB dB 62. FX1 and FX2 to Aux 1/Aux 2/Main

10 10 10 10 10
These knobs route the effects output to aux 1, aux
5 5 5 5 5
-20
2 and mains independently. Use aux 1 and aux 2 to
U U U U U
provide effects to monitors. Slowly add effects to the
SOLO 5 5 5 5 5 monitors by turning the 'to aux 1' and 'to aux 2' knobs
1-2
10 10
74 10 10 10
75 clockwise. Use the aux master to monitor the amount
sent. The FX output to the mains will be heard directly
0 20 20 20 20 20
from the PA.
0 3-4 30 30 30 30 30
0
0
40
50
40
50
40
50
40
50
40
50
63. SIG/OL LED
0 LR 60 60 60 60 60
OO OO OO OO OO
These dual-LEDs illuminate green when the signal
level going into each effects processor is within a good
operating range (sig). They illuminate red if the effects
processor is overloaded with too strong of a signal (ol).
Turn down the send master levels [61] and check the
Stereo Effects Processors,

channel sends if these light red regularly.
The signals going into the processors are affected by
Headphones, Talkback, Main the channels' aux 5/6 sends [29], the channel gain [23],
and Groups Mix* EQ [31-36], and channel faders [43], as well as the FX
Send Master [61].
There are two identical Running-Man 32-bit internal
effects processors. They are mono-in, stereo-out effects 64. Preset Display
processors, with 24 presets each. Signals to these effects These displays show the number of the currently
processors come from adjusting the FX1 and/or FX2 aux selected effects preset, as shown in the list of presets
send [29] on each channel and the FX masters [61]. silkscreened above. Rotate the preset selector knob
The stereo output from each processor may be right or left to change a preset.
added to the main mix using the 'FX to main' knob [62]. A new preset will be loaded approximately 1/4 of a
The stereo output from each processor may also second after you stop turning the knob, and it will be
be added to aux 1 and/or aux 2 by adjusting the stored into the FX memory after about one second.
'FX to aux' control [62]. When the VLZ4 4•Bus mixer is turned on, the FX
section will load up the last-used preset.
24 VLZ4 4•Bus
* Affectionately referred to as “the meat 'n potatoes”.

U 1 2 SOLO MODE
6
5 SOLO PFL
FX1 SOLO SOLO
63
+15 AFL
+15
U
FX 1 FX 2
U U U U U
1 Plate Reverb 13 Chorus
6
FX2 SIG/OL SIG/OL
2 Vocal Plate 14 Chorus + Reverb
FX
+15
61 +15 +15 +15 +15
67 +15
3 Warm Room 15 Doubler
AUX 5/6
Q U U U U 4 Bright Room 16 Tape Slap
HI
12k 64 62 68 5 Warm Lounge 17 Delay 1 Brt 350ms
-15 +15
TAP
DELAY
+15 TAP
DELAY
+15 +15 6 Small Stage 18 Delay 1 Wrm 300ms
TO AUX 2 TO AUX 2 MONITOR
65
U
HI
MID U U U 7 Warm Theater 19 Delay 2 Brt 250ms
2.5k
8 Bright Stage 20 Delay 2 Wrm 200ms

-15 +15 MUTE MUTE
69
66
U
LOW
+15 +15 +15 9 Warm Hall 21 Delay 3 Brt 175ms
TO LR TO LR PHONES
MID
400Hz SUBGROUPS TALKBACK
U
10 Concert Hall 22 Delay 3 Wrm 150ms
-15 +15
U
11 Cathedral 23 Chorus + Dly 300ms
LOW
80Hz 72 70 12 Gated Reverb 24 Reverb + Dly 200ms
-15 +15
STEREO STEREO
The knob also offers a tap delay function for presets
AL
PUSH 17-24. This works as follows:
73 1. Use the knob to select a preset from 17 to 24.

23/24
L R
LEFT LEFT LEFT LEFT
71 AUX 1-4
2. Press the knob in at least two times.
MUTE
ALT 3-4 RIGHT RIGHT RIGHT RIGHT MAIN The DSP processor will calculate the time delay
1 2 3 4 MAIN MIX between the last two pushes, and it will assign
OL
this time interval to the echoes of the current
dB dB dB dB dB
10 10 10 10 10 digital delay.
-20 5 5 5 5 5 The minimum tap delay is 50 ms and the
U U U U U
maximum is 500 ms.
SOLO 5 5 5 5 5
• If your taps are faster than 50 ms, they will
be set to 50 ms.
1-2
10 10
74 10 10 10
75 • If taps are 500 ms to 1 second, they will be
20 20 20 20 20
set to 500 ms.
3-4 30 30 30 30 30
• If taps are greater than 1 second apart,
40 40 40 40 40
50 50 50 50 50 they will be ignored. Try again a bit faster.
LR 60 60 60 60 60
OO OO OO OO OO
3. The LED will flash in time with the new tap
delay time.
66. Internal FX Mute

When engaged, the internal effects processor is
muted, and its output will not appear on the main mix,
monitor mix...or anywhere for that matter. The adjacent
mute LED will come on as a reminder that the effects
are muted. When power is first applied, these LEDs will
illuminate and the FX will be muted for about 10
seconds while the little FX gerbils inside settle down.
If this switch is not engaged, then the internal effects
65. Preset Selector, Tap Delay and LED are set free and may be added as required to the main
Rotate these endless controls to select one of the mix, monitor mix and last two stereo channels.
24 preset effects. When the rotation stops, that preset
will be loaded and become operational. The current 67. Solo Level
preset number is shown in the display [64]. This knob is used to adjust the volume of the soloed
The different presets are shown in the table to the signal as it is routed to the monitor [15, 16] and phones
right and on the silkscreen in the upper right hand [17] outputs. This control is independent of, and prior
corner of each VLZ4 4•Bus mixer. Further details of to, the monitor [68] and phones [69] level controls.
each preset are explained in Appendix E on page 37.
Owner’s Manual 25

68. Monitor Level NOTE: The talkback destination switches are
latching switches, not momentary. In other
This knob is used to adjust the volume at the monitor
words, there is no need to hold down the
output [15, 16], from off to maximum gain (max).
switch(es) when using the talkback feature. Simply
engage the switch(es) and begin talking. But don't
69. Phones Level forget to disengage the switch when you're done talking
This knob is used to adjust the volume at the phones to them, or they may hear your unflattering remarks
output [17], from off to maximum gain (max). If solo is regarding their choice of apparel.
not active, the monitor, phones and meter are fed the
NOTE #2: The talkback will not work unless
post-fader main mix signal.
you have a microphone attached to the
WARNING: The headphone amp is loud, and talkback mic input [19].
can cause permanent hearing damage. Even
intermediate levels may be painfully loud 72. Compressor
with some headphones. BE CAREFUL! Always turn this
Each of the four groups in the VLZ4 4•Bus mixer has
control all the way down before connecting headphones,
an in-line compressor circuit with a variable
or pressing a solo switch [41, 49, 53, 55, 73], or doing
threshold. This is very useful for compression of vocals,
anything new that may affect the headphone volume.
and snare drums, for example. See page 17 for an entire
Then turn it up slowly as you listen carefully.
page (and a graph even!) dedicated entirely to
explaining compression.
70. Talkback Level
Use this knob to control the level of the talkback 73. Groups Assign
signal being routed to the main mix or aux 1-4 outputs,
One popular use of the groups is to use them as
from the internal microphone.
master faders for a group of channels on their way to the
1. Start with this control turned down. main mix [75]. Let us say you have a drum kit hogging
2. Select the destination, either main mix and/or up seven channels and you are going to want to control
aux 1-4 [71], and make sure that their levels their group volume more conveniently. You do not want
are already set nicely, using the main mix fader to try that with seven hands or seven fingers, so just
[75] or aux masters [52]. un-assign these channels from the main mix and
reassign them to groups 1-2, engage the assign to main
3. Slowly turn this control up until you get
mix left on group 1 and assign to main mix right on
confirmation from whoever is listening that
group 2. Now you may ride the entire drum mix with two
they can hear and obey your every command.
faders – groups 1 and 2.
Once you have set the level, you can leave it there for
the duration of the session or gig. If you engage just one assign to main mix button per
group (left or right), the signal sent to the main mix
[75] will be the same level as the group outs [11]. If
71. Push To Talk: Main, Aux 1-4
you want the subgroup to appear in the center of the
Push in the main switch to route the talkback signal main mix, engage both the assign to main mix left and
to the main outputs. Use this to communicate with the right buttons. The signal will be sent to both sides, and
talent in the studio through the headphones during a reduced in level by 3 dB like a pan pot, so the overall
recording session. level is the same, whether the group is assigned to main
The aux 1-4 switch routes the talkback signal to the left, main right, or both.
aux send 1-4 outputs [13]. Use this to communicate Each group may also be soloed. This does not mean
with the musicians through their stage monitors when that each member of a group gets their shot at a solo
you are setting up a live performance. and stardom. Rather, this allows you to listen to the
It is fine to have both destination switches pushed in group in isolation via monitor outputs or headphones.
at the same time, so the talkback signal will be routed Being an output, these signals are AFL.
to both destinations. But if you don’t have either of the Groups 1-2 and 3-4 are paired together for purposes of
destination switches engaged, the talkback signal won’t solo and work together differently in pfl and afl modes.
go anywhere. You might as well be talking to a brick In pfl mode, since pfl is a mono bus, soloing Group 1 by
wall. itself, Group 2 by itself or both together will result in the
same level solo signal, monaurally (assuming Groups 1
and 2 have the same levels of signal).
26 VLZ4 4•Bus

Afl is a stereo solo bus, so in afl mode, soloing Group 1 75. Main Mix
by itself places the signal on the left, Group 2 shows up
This stereo fader allows you to adjust the levels of the
on the right, and soloing both yields a stereo image, with
main mix signals sent to the XLR and 1/4" main
Group 1 on the left and Group 2 on the right, and each
line-level outputs [7], and the tape outputs [6].
reduced by 3 dB, not unlike using one of the channels'
balance pots to center the signal. Groups 3 and 4 This gives you the ultimate feeling of power and
function similarly. control over the sound levels sent to your audience.
Adjust this control carefully, with your good eye on the
Solo signals reaching the headphones and
meters to check against overloading, and your good
monitor outputs are not affected by the
ear to the levels to make sure your audience (if any) is
channel level or main level; therefore, turn
happy.
down the phones level [69] and monitor level [68] first,
as soloed channels may be loud. The main mix signals are off with the fader fully down,
the “U” marking is unity gain, and fully up provides 10
The rude solo light [59] will turn on as a reminder
dB of additional gain. This additional gain will typically
that what you are listening to in the headphones is just
never be needed, but once again, it’s nice to know that
the soloed group(s).
it’s there. The fader is stereo, as it affects both the left
and right of the main mix equally. This is the ideal
74. Group 1-4 Faders control to slowly bring down at the end of a song (or
As you might expect, these faders control the levels quickly in the middle of a song if the need ever arises).
of the signals sent to the group outs [11]. All channels
This control does not affect the aux outputs [13].
that are assigned to groups, not muted, and not turned
This does, however, conclude the main portion of the
fully down will appear at the group outs.
owner's manual. From here on out it's all appendices.
The group signal is off when its fader is fully down, You should pour yourself a cold, frosty one and pat
the “U” marking is unity gain, and fully up provides yourself on the back for making it here!
10 dB additional gain. Remember that if you are treating
Ok, congratulations are now over. Time to plug in your
two groups as a stereo pair, group 1 and 2 for example,
VLZ4 4•Bus mixer, power it on, and start twiddlin' some
make sure that both group faders “ride” together to
knobs!
maintain the left/right balance.
Owner’s Manual 27

Appendix A: Service Information
If you think your mixer has a problem, please check
out the following troubleshooting tips and do your best Repair
to confirm the problem. Visit the Support section of our For warranty service, refer to the warranty
website (www.720trees.com) where you will find lots of information on page 39.
useful information such as FAQs, documentation and
any updated PC drivers, etc. You may find the answer to Non-warranty service is available at a factory-
the problem without having to send your mixer away. authorized service center. To locate the nearest
service center, visit www.720trees.com, click “Contact
Tech Support” and select “Locate a Service Center
Troubleshooting or Distributor” [3]. Service for VLZ4 mixers living
outside the United States may be obtained through
local dealers or distributors.
Bad Channel
If you do not have access to our website, you can
• Is the channel EQ set up nicely? call our Tech Support department at 1-800-898-3211,
• Is the channel gain set correctly? Monday-Friday during normal business hours, Pacific
Time, to explain the problem. Tech Support will tell
• Is the channel level up enough?
you where the nearest factory-authorized service center
• Is the channel OL led on? is located in your area.
• Is the channel balance set in the middle?
• Try the same source signal in another channel,
set up exactly like the suspect channel.
• Is phantom power required for your
microphone?
Bad Output
• Is the main level turned up?
• Are the EQs set to reasonable levels?
• Are any aux returns maxed out?
• Unplug anything from the other line-level
outputs, such as monitor out, just in case
Appendix B: Connections
one of your external pieces has a problem.
• Make sure that you are not overdriving your Balanced XLR Input Connector
amplifiers. Check the loudspeaker average load
The 802VLZ4 mixer has three female XLR
impedance is not less than the minimum your
inputs. Be sure the cables are wired per AES
amplifier can handle. Check the speaker wiring.
(Audio Engineering Society) standards:
Noise Balanced XLR Input Connector
• Turn the channel gains down, one by one. Pin 1 – Shield (Ground)
If the sound disappears, it’s either that Pin 2 – Positive (+ or hot)
channel or whatever is plugged into it, Pin 3 – Negative (– or cold)
so unplug whatever that is. If the noise SHIELD 2
disappears, it’s from your whatever. HOT
Power COLD 3 1
1 SHIELD
• The power LED should come on if the mixer is 3 COLD

2
connected to a suitable live AC mains outlet, HOT
and the power switch is on. Check to make sure Balanced XLR Input Connector
that the power cord is securely plugged in.
28 VLZ4 4•Bus

Balanced XLR Output Connector
The male XLR connectors provide a balanced line- You can cook up your own adapter for a stereo
level signal that represents the end of the mixer, where microphone. “Y” two cables out of a female 1⁄4"
the fully mixed stereo signal enters the real world. TRS jack to two male XLR plugs, one for the
Connect these to the left and right line-level inputs right signal and one for the left.
of powered speakers or to the left and right line-level • Unbalanced send/return circuits. When wired
inputs of an amplifier (with speakers already attached). as a send/return “Y” connector, a 1⁄4" TRS jack
Be sure the cables are wired per AES (Audio or plug is connected tip to signal send (output
Engineering Society) standards: from mixer), ring to signal return (input back
into mixer), and sleeve to ground (earth).
Pin 1 – Shield (Ground) Unbalanced 1/4" TS Connector
Pin 2 – Positive (+ or hot)
Pin 3 – Negative (– or cold) TS stands for Tip-Sleeve, the two connections
available on a mono 1⁄4" cable. This allows for a direct
SHIELD 1 conection to the channel input jacks. Be sure the cables
are wired per AES (Audio Engineering Society)
COLD 3 2
standards:
HOT
1 SHIELD
Unbalanced 1/4" TS Connector
3 COLD
2
HOT Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
SLEEVE SLEEVE TIP
Balanced 1/4" TRS Connector TIP
TIP
TRS stands for Tip-Ring-Sleeve, the three connections SLEEVE
available on a stereo 1/4" cable. This allows for a direct Unbalanced 1/4" TS Connector
connection to the channel input jacks. Be sure the
cables are wired per AES (Audio Engineering Society) TS jacks and plugs are used in many different
standards: applications, always unbalanced. The tip is connected
Balanced 1/4" TRS Connector to the audio signal and the sleeve to ground (earth).
Some examples:
Sleeve – Shield (Ground)
Tip – Positive (+ or hot) • Unbalanced microphones
Ring – Negative (– or cold) • Electric guitars and electronic instruments
• Unbalanced line-level connections
RING SLEEVE SLEEVE RING TIP
TIP
Unbalanced RCA Connector
RING
TIP RCA-type plugs (also known as phono plugs)
SLEEVE and jacks are often used in home stereo and video
Balanced 1/4" TRS Connector equipment and in many other applications. RCA plugs
are unbalanced. Connect the signal to the center post
TRS jacks and plugs are used in several different and the ground (earth) or shield to the surrounding
applications: “basket.” Be sure the cables are wired per AES (Audio
Engineering Society) standards:
• Balanced mono circuits. When wired as a
balanced connector, a 1⁄4" TRS jack or plug Unbalanced RCA Connector
is connected tip to signal high (hot), ring to Sleeve – Shield (Ground)
signal low (cold), and sleeve to ground (earth). Tip – Positive (+ or hot)
• Stereo Headphones, and rarely, stereo
SLEEVE TIP SLEEVE TIP
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 Unbalanced RCA Connector
accept 1-plug-type stereo microphones. They
must be separated into a left cord and a right 29
Owner’s Manual
cord, which are plugged into the two mic
preamps.

TRS Send/Receive Insert Jacks Using the Send Only on an Insert Jack
Single-jack inserts are three-conductor, TRS-type 1⁄4" If you insert a TS (mono) 1⁄4" plug only partially (to
phone. They are unbalanced, but have both the mixer the first click) into a VLZ4 insert jack, the plug will not
output (send) and the mixer input (return) signals in activate the jack switch and will not open the insert
one connector. See the illsutration below. loop in the circuit (thereby allowing the channel signal
to continue on its merry way through the mixer).
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the external unit is This allows you to tap out the channel or bus signal
carried on the tip, and the return from the unit to the without interrupting normal operation.
mixer is on the ring.
If you push the 1⁄4" TS plug in to the second click,
ring
SEND to processor
tip
you will open the jack switch and create a direct out,
(TRS plug)
tip sleeve
which does interrupt the signal in that channel. See the
illustration below.
This plug connects to one of the ring
mixer’s Channel Insert jacks. RETURN from processor NOTE: Do not overload or short-circuit the signal you
Unbalanced 1/4" Insert Connectors are tapping from the mixer. That will affect the internal
signal.
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.

Insert only to first click.
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.

Insert all the way in to the second click.
STEREO
PLUG
Channel Insert jack
For use as an effects loop.

(Tip = Send TO effect, Ring = Return FROM effect).
Using the Send Only on an Insert Jack
30 VLZ4 4•Bus

Appendix C: Technical Information
Specifications
Noise Characteristics: 4-Band Equalization (stereo channels)
(Mic in to Insert Send out, max gain.) Low: ±15 dB @ 80 Hz
150 termination: –128.5 dBu Low-Mid: ±15 dB @ 400 Hz
(20 Hz–20 kHz bandwidth, 1/4" Main out, channel gains @ High-Mid: ±15 dB @ 2.5 kHz
unity gain, channel EQs flat, all channels assigned to Main Mix, High: ±15 dB @ 12 kHz
odd channels panned left, even channels panned right.)
Main Mix fader unity, channel faders down:
2404: –87.0 dBu (–91.0 dB Signal to Noise Ratio, ref +4 dBu) USB
3204: –84.5 dBu (–88.5 dB Signal to Noise Ratio, ref +4 dBu) Format: USB 1.1
Main Mix fader unity, channel faders @ unity: I/O: Stereo Input, 4 Channel
2404: –81.5 dBu Output
3204: –80.0 dBu
A/D/A: 24 bit, 44.1 kHz / 48 kHz
Frequency Response:
Input and Output Impedance:
Mic Input to Main Output (Gain @Unity)
Mic in: 2.7 kΩ
+0, –1 dB, 20 Hz to 50 kHz
Channel Insert return: 2.5 kΩ
+0, –3 dB, <10 Hz to >100 kHz
All other inputs: 10 kΩ or greater
Tape out: <10 Ω
Distortion (THD+N): All other outputs: 120 Ω
(1 kHz 15 dB gain, 20 Hz–20 kHz bandwidth)
Mic in to insert send: <0.001%
AC Power Requirements:
Mic in to Main Out: <0.005%
Power Consumption: 55 watts (2404VLZ4)
65 watts (3204VLZ4)
Attenuation and Crosstalk: Universal AC Power Supply: 100 VAC – 240 VAC,
(1 kHz relative to +10 dBu, 20 Hz–20 kHz bandwidth, 50-60 Hz
Mic in, 1⁄4" Main Out, Gain @ unity.)
Channel Mute switch engaged: –90 dBu Physical Dimensions and Weight
Channel Fader down: –88 dBu Front Height: 1.8 in / 46.3 mm (both)
Rear Height: 6.0 in / 153 mm (both)
Common Mode Rejection Ratio (CMRR): Depth: 19.1 in / 486 mm (both)

(Mic in to Insert Send out, max gain.) Width: 29.4 in / 748 mm (2404VLZ4)
38.0 in / 964 mm (3204VLZ4)
1 kHz: better than –70 dB
Weight: 31 lb. / 14.1 kg (2404VLZ4)
39 lb. / 17.7 kg (3204VLZ4)
Maximum Input and Output Levels:
Mic in: +21 dBu
Since we are always striving to make our products better by
All other inputs: +21 dBu
incorporating new and improved materials, components, and
Main Mix XLR out: +27 dBu manufacturing methods, we reserve the right to change these
All other outputs: +21 dBu specifications at any time without notice.
The “Running Man” figure is a registered trademarks of LOUD

Technologies Inc. All other brand names mentioned are trademarks
3-Band Equalization (mono channels)
or registered trademarks of their respective holders, and are hereby
Low: ±15 dB @ 80 Hz acknowledged.
Mid: ±15 dB sweep
Please check our website for any updates to this manual:
100 Hz–8 kHz
www.720trees.com.
High: ±15 dB @ 12 kHz
©2013 LOUD Technologies Inc. All Rights Reserved.
Low Cut Filter: 18 dB/octave,
–3 dB @ 100 Hz
Owner’s Manual 31

Block Diagram
Global 48v
48V Switch/LED
Aux 3 (pre/post)
Aux 4 (pre/post)
Insert
Phantom Power
Aux 1 (pre)
Aux 2 (pre)
(To All Mics)
M ain
Sub
Phantom Power -20 Sig (flicker) OL (flicker)
4
L
1
2
3
bypass solo (on) mute (on)
Gain HPF In
LO MID HI Assign
-20dB pad Pan
+
Mic - 80 100~8K 12K
L/R
Mono Channels
HPF
1-16 (2404) 100Hz
1/2
1-24 (3204) Line Mic: 0 ~ +60dB Mute Level
Line: -15 ~ +45dB
3-Band EQ
w/ Swept Mid 3/4
Phantom Power bypass FX2

Gain HPF In Aux 6
FX1
+ Comp Aux 5
Mic - post
pre Aux 4
HPF Aux 3
100Hz
Mono Channels Line Aux 2
Mic: 0 ~ +60dB
17-20 (2404) Aux 1
Line: -15 ~ +45dB
25-28 (3204) Solo
-20 Sig (flicker) OL (flicker)
solo (on) mute (on)
(Second stereo 4-Band EQ

L + channel only) Gain
LO MID MID HI Level Assign
- Pan
Line 80 400 2.5K 12K L/R
FX 1
USB
R +
LO MID MID HI
1/2
-
3/4
80 400 2.5K 12K
-20 ~ +20dB Mute
Int FX 1 Out L FX1
Aux 6
Int FX 1 Out R
FX2
(FX2 on 2 nd st ch.)
Aux 5
post
pre
Aux 4
Stereo Channels Aux 3
21/22 & 23/24 (2404) Aux 2
29/30 & 31/32 (3204) Aux 1
Solo
L
Tape
Tape Input USB
R
2 track Input
USB Level Solo
In
+
Stereo L -
Return 1 & 2 To Main Mix
+
R - Solo
Hudson River To Aux 1
To Aux 2
Central Park
To Aux 3
To Aux 4
Talkback
Level Aux1-4
Talkback L-R
Assign
R
4
1
2
3
Aux 2
Aux 3
Aux 4
Aux 1
L
Main
Sub
32 VLZ4 4•Bus

Mono Insert
Aux 3 (pre/post)
Aux 4 (pre/post)
Mono level
Aux 5 (post)
Aux 6 (post)
Aux 1 (pre)
Aux 2 (pre)
AFL solo R
M ain
AFL solo L
PFL Solo
Sub
Mono Out
FX 1
FX 2
R
4
L
1
2
3
L sum L Insert
L
R sum R Insert Main Out
Main
level R
L
Tape Out
Sub 1 to USB 1-2 R
Sub 2
Sub 1-2
Main L-R to USB 3-4
Sub 3
Aux 5 USB Out
Sub 4
Aux 6
Sub 3-4
RUDE Aux 5-6
AFL Solo SOLO
L Meter LED Mono
Select Monitor
R
Level Monitor Out
L
4 PFL Solo
Solo
3 Solo Level
2 Solo Logic
1 R
Phones
Solo mode Level
AFL
PFL
Sub Assign To
Main Mix Phones
L
R
Solo (1&3)
Solo (2&4)
Sub 1 level
Sub 1 sum
Comp Insert Sub 1 Out
(Sub 2-4 identical)
Aux 1 sum Aux 1 Level
Insert
Aux 1 Out
Solo (Aux 2-6 identical)
Sig/OL
FX 1 master level
Aux1 Preset select

In
Out L
Aux2 L
FX 1 Tap
Main
Out R
R
(To first stereo channel)
Active
FX
FX Mute Preset
Internal FX 1 Display
R
Aux 6
1
Aux 5
2
3
Aux 2
Aux 3
Aux 4
AFL solo R
Aux 1
L
PFL solo
FX 2
AFL solo L
FX1
Main
Sub
(Internal FX 2 identical except

returns to second stereo FX 1 Bypass
channel) Logic
Owner’s Manual 33

Track Sheet - Mono Channels
5 GAIN 6 GAIN 7 GAIN 8 GAIN 9 GAIN 10 GAIN 11 GAIN 12 GAIN 13 GAIN 14 GAIN 15 GAIN 16 GAIN
30 30 30 30 30 30 30 30 30 30 30 30
U U U U U U U U U U U U
20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20 40 20
U 60 U 60 U 60 U 60 U 60 U 60 U 60 U 60 U 60 U 60 U 60 U
-20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40d
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT
100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz 100 Hz
PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD
-20dB -20dB -20dB -20dB -20dB -20dB -20dB -20dB -20dB -20dB -20dB
OFF MA
AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX AUX
1 1 1 1 1 1 1 1 1 1 1
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
+15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15
2 2 2 2 2 2 2 2 2 2 2
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
+15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15
3 3 3 3 3 3 3 3 3 3 3
+15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15
4 4 4 4 4 4 4 4 4 4 4
+15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15
PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE PRE
5 5 5 5 5 5 5 5 5 5 5
FX1 FX1 FX1 FX1 FX1 FX1 FX1 FX1 FX1 FX1 FX1
+15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15
6 6 6 6 6 6 6 6 6 6 6
FX2 FX2 FX2 FX2 FX2 FX2 FX2 FX2 FX2 FX2 FX2
+15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15 +15
FX FX FX FX FX FX FX FX FX FX FX FX
AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6
EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U
HI HI HI HI HI HI HI HI HI HI HI
12k 12k 12k 12k 12k 12k 12k 12k 12k 12k 12k
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
MID MID MID MID MID MID MID MID MID MID MID
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
800 800 800 800 800 800 800 800 800 800 800 800
FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ FREQ
200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200 2k 200
100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k 100 8k
LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN
L R L R L R L R L R L R L R L R L R L R L R L R
6 7 8 9 10 11 12 13 14 15 16 17
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE
dB OL dB OL dB OL dB OL dB OL dB OL dB OL dB OL dB OL dB OL dB OL dB
10 10 10 10 10 10 10 10 10 10 10 10
5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5
5
SOLO 5
SOLO 5
SOLO 5
SOLO 5
SOLO 5
SOLO 5
SOLO 5
SOLO 5
SOLO 5
SOLO 5
SOLO 5
10 10 10 10 10 10 10 10 10 10 10 10
1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2
20 20 20 20 20 20 20 20 20 20 20 20
30 3-4 30 3-4 30 3-4 30 3-4 30 3-4 30 3-4 30 3-4 30 3-4 30 3-4 30 3-4 30 3-4 30
40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 LR 60 LR 60 LR 60 LR 60 LR 60 LR 60 LR 60 LR 60 LR 60 LR 60 LR 60
OO OO OO OO OO OO OO OO OO OO OO OO
34 VLZ4 4•Bus

Track Sheet - Comp & Stereo Channels and Master Section
AIN 16 GAIN 17 GAIN 18 GAIN 19 GAIN 20 LINE GAIN 21 LINE GAIN 23 SUCK
30 30 30 30 30 U 22 U 24 50%
U U U U U
40 20 40 20 40 20 40 20 40 25% 75%
12V
0.5A
U 60 U 60 U 60 U 60 U 60 -20 +20 -20 +20 0% 100%
-20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB -20dB +40dB
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT CH 1-2 CH 3-4
100 Hz FX 1 FX 2 48V PWR
100 Hz 100 Hz 100 Hz 100 Hz
SOLO TAPE SUBS 1-2 SUBS 3-4

PAD +20 USB MAIN AUX 5-6
-20dB COMP COMP COMP COMP USB TO LR
LEFT RIGHT
AUX MASTER STEREO RETURNS 0 dB=0 dBu
OFF MAX OFF MAX OFF MAX OFF MAX U U U
AUX 20
UX AUX AUX AUX AUX AUX AUX 1
1 10
U U U U U U U
SOLO 7
+15 +15 +15
U U U
1 1 1 1 1 1 1 AUX 4
2
+15 +15 +15 +15 +15 +15 +15 2 2
U U U U U U U 0
SOLO
+15 +15 +15
U U U 2
2 2 2 2 2 2 2 AUX
PRE PRE PRE PRE PRE PRE PRE 3 4
+15 +15 +15 +15 +15 +15 +15
3
U U U U U U U 7
SOLO
+15 +15 +15
U U U 10
LEVEL
3 3 3 3 3 3 3 AUX SET
4 20
+15 +15 +15 +15 +15 +15 +15

4 30
U U U U U U U SOLO
+15 +15 +15
U U U
LR
4 4 4 4 4 4 4
5
+15 +15 +15 +15 +15 +15 +15 RUDE SOLO
SOLO
PRE PRE PRE PRE PRE PRE PRE +15 +15 +15
U
U U U U U U U 1 2 SOLO MODE
6
5 5 5 5 5 5 5 SOLO PFL
FX1 FX1 FX1 FX1 FX1 FX1 FX1 SOLO SOLO
+15 AFL
+15 +15 +15 +15 +15 +15 +15
U U U U U U U
FX 1 FX 2
U U U U U
6 6 6 6 6 6 6
FX2 FX2 FX2 FX2 FX2 FX2 FX2 SIG/OL SIG/OL
+15 +15 +15 +15 +15 +15 +15

FX FX FX FX FX FX FX
AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 AUX 5/6 +15 +15 +15 +15 +15
Q U EQ U EQ U EQ U EQ U EQ U EQ U U U U
HI HI HI HI HI HI HI
12k 12k 12k 12k 12k 12k 12k
TAP +15 TAP +15 +15

-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 DELAY DELAY
U U U U U U U TO AUX 2 TO AUX 2 MONITOR
HI HI
MID MID MID MID MID MID MID U U U
2.5k 2.5k
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MUTE MUTE
800 800 800 800 800 U U
+15 +15 +15
FREQ FREQ FREQ FREQ FREQ LOW LOW TO LR TO LR PHONES
2k 200 2k 200 2k 200 2k 200 2k MID MID
400Hz 400Hz SUBGROUPS TALKBACK
U
100 8k 100 8k 100 8k 100 8k 100 8k -15 +15 -15 +15
U U U U U U U
LOW LOW LOW LOW LOW LOW LOW
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
STEREO STEREO
AN PAN PAN PAN PAN BAL BAL
PUSH
L R L R L R L R L R L R L R
LEFT LEFT LEFT LEFT AUX 1-4
16 17 18 19 20 21/22 23/24
MUTE MUTE
MUTE MUTE MUTE MUTE MUTE ALT 3-4 ALT 3-4 RIGHT RIGHT RIGHT RIGHT MAIN
1 2 3 4 MAIN MIX
OL dB OL dB OL dB OL dB OL dB OL dB OL dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10
-20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5 5 5 5 5
U U U U U U U U U U U
SOLO 5
SOLO 5
SOLO 5
SOLO 5
SOLO 5
SOLO 5
SOLO 5 5 5 5 5
10 10 10 10 10 10 10 10 10 10 10
1-2 1-2 1-2 1-2 1-2 1-2 1-2
20 20 20 20 20 20 20 20 20 20 20
3-4 30 3-4 30 3-4 30 3-4 30 3-4 30 3-4 30 3-4 30 30 30 30 30
40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50
LR 60 LR 60 LR 60 LR 60 LR 60 LR 60 LR 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO
Owner’s Manual 35

Dimensions WEIGHT
31.0 lb
14.1 kg
6.0 in / 153 mm
+6
6.0 in
153 mm
19.1 in / 486 mm
29.4 in / 748 mm
1.8 in
46 mm
WEIGHT
39.0 lb
17.7 kg
6.0 in / 153 mm
6.0 in
153 mm
19.1 in / 486 mm
38.0 in / 964 mm
1.8 in
46 mm
36 VLZ4 4•Bus

Appendix D: USB
The built-in USB interface allows for some USB output FROM the mixer - recording, etc:
powerful and flexible routing. It is a 4x2 interface
(1) A variety of different signals may be recorded
allowing you to record up to four streams from the
via the USB output section, depending on the setup. In
mixer, or to input stereo playback from a computer
the 'USB OUT' section, the switch on the left [51] will
and route it to nearly any output or pair of outputs
select either Groups 1-2 or the main mix to feed USB
on the mixer. To use this feature with a PC, first
output channels 1-2. The second switch (to the right)
download the PC ASIO driver from www.720trees.com.
will select either Groups 3-4 or Aux 5-6 to feed USB
If connecting to a Mac, the mixer will show up as a
output channels 3-4.
4x2 device with no driver required.
For example, with both USB ouput switches in the
The USB routing capabilities are as follows:
default position (up), true 4-track recording may be
USB input TO the mixer - playback: accomplished via routing to subgroups 1-4. The USB tap
points for the subgroups are pre-fader (also pre-insert)
(1) Stereo channel 23/24 (on the 2404VLZ4) and
and post-compressor. The signals will show up on the
31/32 (on the 3204VLZ4) features a USB button, so one
DAW dependent upon how they are panned on the
may route computer output (such as iTunes®) down the
channels.
last stereo channel of the board. This stereo signal may
then be EQ'd, sent to auxiliaries (i.e. to feed monitors, In other words, if subgroups 1 and 2 are used to sub-
headphones or effects) and is routable to mains and/or mix drums and those drums have a stereo image
subgroups via the fader routing features that are (e.g. overheads and toms pan according to desire), this
available on all other channels. In short, this signal may stereo image is retained in the DAW inputs (assuming
be sent to nearly any desired output or pair of outputs. subgroup 1 is set to “L” and subgroup 2 is set to “R”).
Additionally, the gain knob at the top of this channel Any adjustments made to the subgroup drum levels
strip adjusts the USB input level to the mixer to achieve during the show only pertain to the live show itself;
an optimal signal level. recording levels are not adjusted in the DAW unless they
are adjusted on the channels. However, compression
(2) The 2-Track Return section features a “flip”
settings made on the mixer will apply to the recording.
switch, so a “Tape” source (connected via RCA cables,
such as an iPod®) or the USB signal from a computer Likewise, it is possible to record the main mix to take
(playing Windows Media Player® files, for example) may home a copy of the live show. These levels are also
be routed to the main bus. This section also features a pre-main fader. Therefore, levels may be mixed up or
solo button and input level adjustment for fading house down in the DAW later depending on the needs of the
music up and down between bands, at a house of recording versus the live show. The end result is that
worship, or any other event where this may be fade-ins and/or fade-outs made during the show do not
necessary. affect recorded levels.
And finally, it is possible to route the aux 5-6 (again,
pre-fader) mixer signals into a DAW or plug-in host.
From there, re-route the output of the DAW (or plug-in
host) back into the mixer. Voilà...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 reverb return. This kind of flexible routing allows
for a variety of choices: running aux 5-6 as effects sends
to outboard gear, internal effects sends (native to the
board), DAW plug-ins (via USB) or as monitor mix
feeds...a truly powerful feature! Be sure to review the
software requirements on www.720trees.com to confirm
that the latest device drivers are currently in use.
Owner’s Manual 37

Appendix E: Table of Effects Presets
No. Title Description Example of its use
01 Plate Reverb This preset emulates vintage mechanical reverberation Perfect for thickening percussive instruments, such
that was generated with a metal plate. Its sound is char- as a snare drum, or tight vocal arrangements.
acterized by lots of early reflections and no pre-delay.
02 Vocal Plate This vintage plate emulation is warmer than your Particularly suited for vocal signals, but can also
standard plate, with a long reverberant tail, lots of fast be used for extra-thick drum tracks.
reflections and a very short pre-delay.
03 Warm Room This preset is characterized by lots of fast early reflections Useful for adding a tight and controlled
with a short pre-delay to simulate the sound of a small, ambient effect to vocals and acoustic instruments.
wood paneled room.
04 Bright Room This room has a bright tone with lots of scattered reflec- Useful on vocals that require a brighter reverb to
tions to simulate harder, more reflective surfaces. cut through the mix, or for giving acoustic instru-
ments a livelier vibe.
05 Warm Lounge This preset features a medium sized room sound, with Useful for vocals on songs that require a larger,
just enough enhancement of the lower mids to produce a more “wet” sound, or for giving dimension to
warm tone. bright horns without adding harshness.
06 Small Stage This preset simulates the sound of a small concert stage, Useful for vocals or guitars in fast paced, high-
with a medium reverb time and reverberant space. energy songs that call for a “live” sounding
reverberation.
07 Warm Theater This reverb has a warm bodied tone and medium long Perfect for vocals, drums, acoustic and electric
reverb time to simulate the live acoustics of a theater guitars, keyboards, and more.
space.
08 Bright Stage This preset emulates the sound of a large performance Great for adding life and dimension to drums and
stage, characterized by medium long reverb time and other acoustic instruments, and for that big live
pre-delay, plus a touch of sizzle. vocal sound.
09 Warm Hall This reverb simulates the sound of a spacious, yet cozy, Perfect for adding natural concert hall ambience
heavily draped and carpeted concert hall with an espe- to close-mic’ed orchestral instruments.
cially warm tone.
10 Concert Hall This hall reverb is characterized by its large, spacious Adds life to acoustic instruments and vocals from
sound, long pre-delay, and vibrant tone. solos to full-on symphonies and choirs.
11 Cathedral This reverb emulates the extremely long tails, dense dif- Gives amazing depth to choirs, wind instruments,
fusion and long pre-delays and reflections that would be organs, and soft acoustic guitars.
found in a very large, stone walled house of worship.
12 Gated Reverb This preset incorporates an age-old trick whereby an Most often used to fatten snare drums and toms
extremely dense reverb is processed through a fast gate without clutter.
for an interesting, albeit artificial, sound.
13 Chorus This preset provides a soft, ethereal sweeping effect that Perfect for enhancement of electric and acoustic
is useful for thickening and for making a particular sound guitar and bass, or to add a dramatic effect to
pop out of the mix. vocals, particularly group harmonies and choirs.
14 Chorus + Reverb This preset perfectly combines the chorus effect above This lets you both thicken your sound with the
with a large, roomy reverb. chorus effect while adding warmth and spacious-
ness thanks to the smooth reverb.
15 Doubler This effect simulates the sound of a vocal or instrument Provides a vibe that is similar to chorus without
being recorded twice (double tracked) on a multi-track the subtle swirl.
recorder.
16 Tape Slap This effect provides a single, relatively rapid delay of the Often used on vocals for a 1950’s era feel, or on
original signal, with the added warmth that vintage tape- guitars for a surf-type tone. Often used by people
based echo units provided. whose favorite number is 16.
17 DLY 1 Bright (350ms) These 6 delay presets provide one (delay 1), three (delay These work best with full, up-beat music like rock
18 DLY 1 Warm (300ms) 2), or six (delay 3) repeats of the original signal. The where the delay needs to cut through the mix.
19 DLY 2 Bright (250ms) default delay time for each preset is shown in mS - the Warm delays get progressively softer and warmer
20 DLY 2 Warm (200ms) smaller the time, the faster the delay. Delay times can in tone with each repetition and work great with
21 DLY 3 Bright (175ms) easily be customized to suit the moment by tapping the slow, mellow music. Bright delays have repeats
22 DLY 3 Warm (150ms) knob [63] more than once. that are consistent in tone with the original sound.
23 Chorus + DLY (300ms) This effect combines the thickening effect of the chorus Useful on a clean electric guitar that needs a
with the echoes of the 3-repeat delay effect. mildly swirling, ethereal tone.
Delay times can easily be customized to suit the moment
by using the Tap feature.
24 Reverb + DLY (200ms) This effect combines the Warm Theater reverb effect with Perfect for thickening vocals while adding dimen-
the echoes of the 3-repeat delay effect. sions, it can also be used as a spacey effect on
Delay times can easily be customized to suit the moment electric guitars.
by using the Tap feature.
For presets 17 to 24, the delay can be entered by tapping the preset selector knobs [65] more than once.
38 VLZ4 4•Bus

VLZ4 4•Bus 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.
Owner’s Manual 39

16220 Wood-Red Road NE
Woodinville, WA 98072 • USA
Phone: 425.487.4333
Toll-free: 800.898.3211
Fax: 425.487.4337
www.720trees.com

Mackie 2404

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Mackie 2404

Uploaded by

Copyright:

Available Formats

MONITOR SUBGROUP INSERTS 31/32 29/30

AUX INSERTS STEREO RETURNS

TALKBACK RIGHT LEFT MONO TAPE SERIAL NUMBER REVISION

This manual downloaded from http://www.manualowl.com

CAUTION AVIS Duration, Sound Level Typical Example

This manual downloaded from http://www.manualowl.com

This manual downloaded from http://www.manualowl.com

Need help with your mixer?

This manual downloaded from http://www.manualowl.com

This manual downloaded from http://www.manualowl.com

d.2 Pro DJ mixer L

LINE GND LINE GND

SRM150 DLM12S DLM12S

Typical Live Sound System

This manual downloaded from http://www.manualowl.com

ultra hi / lo bass midrange

channel gain treble middle bass volume reverb

Here is how to record the band in three easy steps:

Typical Recording System

This manual downloaded from http://www.manualowl.com

AUX INSERTS STEREO RETURNS

Rear Panel - Connections

This manual downloaded from http://www.manualowl.com

AUX INSERTS STEREO RETURNS

3. Insert 5. Stereo Returns 1-2

If you are connecting a mono source, use the left

Tip = Send (output to effects device) 6. Tape Ins / Outs

This manual downloaded from http://www.manualowl.com

AUX INSERTS STEREO RETURNS

This manual downloaded from http://www.manualowl.com

AUX INSERTS STEREO RETURNS

This manual downloaded from http://www.manualowl.com

AUX INSERTS STEREO RETURNS

This manual downloaded from http://www.manualowl.com

AUX INSERTS STEREO RETURNS

19. Talkback Mic Never plug ­­single-ended (unbalanced)

This manual downloaded from http://www.manualowl.com

+15 +15 +15 +15 +15 +15 +15 +15

TAP +15 TAP +15 +15

This manual downloaded from http://www.manualowl.com

UX AUX AUX AUX AUX AUX AUX AUX

Channel Controls 24.PRE

+15 +15 +15 +15 +15 All mono channels

2 have only a few

FX2 FX2 FX2 FX2 FX2 FX2 FX2 FX2 SIG

MID MID MID

-20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5 -20 5

Each of the last four mono channels in the

VLZ4 4•Bus mixer has an in-line compressor circuit +15

OUTPUT SIGNAL STRENGTH dBu

+10 OFF MAX

so you might consider connecting your microphones

When the incoming signals exceed the threshold level +0 KN

compressed. This reduces the dynamic range, and

Dynamic range is the difference in level -10 -5 +0 +5 +10 +15 +20

INPUT SIGNAL STRENGTH dBu

* My High School math teacher, Mr. Marvin, thought that

This manual downloaded from http://www.manualowl.com

4 4 4 it's nice to 4know that it's4

5 5 outputs,5 and are used 5 if you want 5

monitors. Stereo Returns 1-2 [5]

Channel Equalization (EQ)

100 8k 100 8k 100 8k

19. Talkback Mic Never plug single-ended (unbalanced)

TRS stands for Tip-Ring-Sleeve, the three connections SLEEVE