Mackie DJ Equipment VLZ3 4BUS User Manual

VLZ3 4•Bus

24/32-Channel Premium FX Mixer with USB

O W N E R ’ S M A N U A L

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Set the levels

Quick Start

It’s not even necessary to hear what you’re doing to

set optimal levels. But if you’d like to: Plug headphones

into the phones output jack, then turn up the phones

knob just a little.

We realize that you must be really keen

to try out your new mixer. Please read the

safety instructions on page 2, then have

a look through some of the features and

details in this manual.

1. Turn on the mixer by pressing the top edge of

the power switch.

2. For one channel, press the solo switch in, and

the rude solo light will turn on.

Setup

Use the mixer in a nice clean and dry environment,

free from dryer lint and dust bunnies.

3. Play something into that input at real-world

levels.

4. Adjust that channel's gain control until the

right main meter stays around the 0 dB LED

(marked "level set").

Zero the controls

1. Fully turn down all the knobs to minimum,

except for the channel EQ and pan controls,

which should be centered.

5. Disengage the channel's solo switch.

6. Repeat steps 2 to 5 for the remaining channels.

7. Turn up the channel fader to the "U" mark.

2. Make sure all buttons are in the out position.

8. Slowly turn up the main mix fader until you

hear the signals in your headphones.

Connections

9. If needed, apply some channel EQ wisely.

1. Make sure the AC power switch is off before

making any connections.

10. Adjust the channel levels to get the best mix.

Keep the gain controls and levels fully down on

unused channels.

2. Push the linecord securely into the IEC

connector on the rear panel, and plug it into a

3-prong AC outlet. The mixer can accept any

AC voltage ranging from 100 VAC to 240 VAC.

11. During the performance, if you notice a channel

OL LED turning on during peaks, carefully turn

down that channel's gain control until OL does

not turn on.

3. Plug a balanced microphone into one of the mic

XLR (3-pin) connectors. Or connect any

line-level signal (keyboard, or guitar preamp)

to a line input jack using a TS or a TRS

1/4" plug.

Other Notes

•

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.

4. If your microphone requires phantom power,

turn on the 48V phantom power button.

5. All mono channels have insert jacks that can be

used to connect an external effects or dynamics

processor into the signal chain.

•

Always turn down the phones level when

making connections, pressing solo, or doing

anything that may cause loudness in the

headphones. This will help protect your

hearing.

6. Connect the main outputs of the mixer (either

XLR or TRS 1/4") to the line level inputs of your

ampliﬁer (with speakers already attached) or

to the line level inputs of powered speakers.

•

Always turn down the main mix level and

monitor level when making connections to the

mixer. Better yet, turn off the power.

Save the shipping box!

Part No. SW0844 Rev. A 06/10

Loosely based on a dream involving strong personalities and even stronger

drinks...wait, that wasn't a dream?

Owner's Manual 3

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Introduction

Awesomely unheard of features

USB Recording and Playback

The VLZ3 4•Bus Series Mixers feature a 4x2 USB

recording and playback function. This means up to four

signals may be recorded simultaneously and a stereo

mix returned to the mixer for playback.

Powerful on-board dual FX engines and eight

individual compressors

In pursuit of the ultimate Mackie "do-it-all" Live

Sound Mixer, we threw in the kitchen sink and packed

this bad boy with a full set of processors allowing you

to travel "rack free" while still making professional

sounding mixes.

There are two switches in the master section labeled

"USB OUT" that allow for monstrous ﬂexibility on the

four recordable signals. The default switch

conﬁguration routes subgroups 1-4 over the USB

connection to your favorite DAW software for a "mix it

later" 4-track recording. The Subgroup 1-2 switch also

allows the L-R mix to be recorded for convenient stereo

mixes of the show. The Subgroup 3-4 switch allows aux

5/6 to be sent to the DAW for a unique stereo recording

or the use of DAW plug-ins as effects.

For starters, we added not one, but TWO, of our

patented Running Man FX processors (RMFX+^™)

featuring 24 "gig-ready" effects right into the board. This

does not include useless effects such as "the warbler" or

the "insanity delay", but rather a suite of quickly

accessible and useable reverbs, choruses and delays

that make coloring your mix a breeze.

Additionally, both FX processors feature a tap delay,

typically only available on an outboard rack. Delays may

easily be sync'd with the song at the tap of a ﬁnger. And

because we love ﬂexible routing (hehe), the processed

signal may be sent direct to the mains and monitors

from the effects section or re-routed to the two stereo

channels to bring them through the EQ and aux section,

utilizing the 60mm fader to draw them into the mix.

For playback, there are two switches in the master

section labeled "2-TRACK RETURN". One switch [TAPE/

USB] changes the standard dual RCA inputs to main

(tape, switch disengaged) to stereo USB to main (USB,

switch engaged). This is an extremely convenient

function for playing music over the main mix from a

computer. We prefer to jam some Johnny 'The Man in

Black' Cash in between bands at the local rock clubs.

But feel free to play whatever you want, unless it's...

ah, never mind, we won't go there!

But wait, there's more! The VLZ3 4•Bus has eight

(yes, eight!) single knob compressors to stop the

dynamic signals from poking out of the mix. Four

compressors are located on the last four mic inputs

so that the most critical signals (such as vocals, snare

drum, the occasional jaw harp or mountain goats) may

be addressed. Plus, there are single knob compressors

on each of the four subgroups so that grouped signals

(such as a drum set or a choir of didgeridoos) may be

blended together for paramount smoothness.

Another cool feature of the VLZ3 4•Bus is routing

the stereo USB return to the last stereo channel of the

mixer. This is a mighty ﬁne tool for a number of live and

recording uses. For example, playback through the

stereo channel allows the "Greg Mackie designed"

4-band EQ to be utilized to sweeten the sounds. It may

also be used for overdubbing by sending music to the

musicians' headphones through the auxes.

Bottom line? You have an awesome mixer with Mackie

VLZ3 sound quality, "built-like-a-tank" build quality and

a recording and processing feature set that is

Last, but not least, it may be used to return plug-in

effects from the DAW in a live mix scenario. One of our

favorites is the CamelPhat VST that makes your

average drummer sound like Bonham on How The West

Was Won.

unparalleled. Congratulations... and happy mixing!

4 VLZ3 4•Bus

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Features

How To Use This Manual

•

Proven VLZ3 low-noise, high-headroom design

The ﬁrst pages after the table of contents are the

hookup diagrams. These show typical setups for fun

times with your mixer.

• Studio grade XDR2^™mic preamps

• 130dB dynamic range

• Distortion under 0.0007%

(20 Hz - 20 kHz)

Next is a detailed tour of the entire mixer. The

descriptions are divided into sections, just as your mixer

is organized into distinct zones:

• Phantom power for studio

condenser mics

•

Rear Panel / Connections

Channel Controls

•

4 subgroups, each with dedicated compressors

for total dynamic control

2-Track, USB, Aux Masters, Meters

Dedicated in-line channel compression for

critical inputs

Stereo Effects Processors, Headphones,

Talkback, Main and Groups Mix

3-band active EQ with carefully selected

frequency ranges for maximum ﬂexibility

Dual 32-bit RMFX+^™processors featuring 24

"gig ready" effects including reverb, delay, and

chorus

Throughout these sections you’ll ﬁnd illustrations

with each feature numbered and described in nearby

paragraphs.

This icon marks information that is critically

important or unique to the mixer. For your own

good, read them and remember them.

•

Integrated 4x2 24-bit USB interface

• Stream subgroups or master L/R to your

laptop for recording

• Use your favorite plug-in live via auxes 5/6

• Convenient stereo return for music playback

from laptop during breaks

This icon will lead you to some explanations of

features and practical tips. Go ahead and skip

these if you need to leave the room in a hurry.

•

6 aux sends with inserts, 1-2 pre, 3-4 pre/post

switchable, 5-6 switchable to internal effects

Appendices

18dB/oct 100 Hz low cut ﬁlter available on

every mic input

Appendix A: Service Information

• Troubleshooting

• Repair

•

60mm long-wearing logarithmic-taper faders

All steel, classic Mackie "Built-Like-A-Tank"

chassis design

Appendix B: Connections

• XLR Connectors

• 1/4" TRS Phone Plugs and Jacks

• 1/4" TS Phone Plugs and Jacks

• RCA Plugs and Jacks

•

Smallest footprint in class saves precious desk

space:

2404-VLZ3: 6" x 29.4" x 19.1"

3204-VLZ3: 6" x 38" x 19.1"

• TRS Send/Receive Insert Jacks

•

Lightweight and portable:

2404-VLZ3: 31 lbs / 14.1 kg

3204-VLZ3: 39 lbs / 17.7 kg

Appendix C: Technical Information

• Speciﬁcations

• Dimensions

• Block Diagram

• Track Sheet

Appendix D: USB and you... sb

Appendix E: Table of Effects Presets

Owner's Manual 5

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Contents

IMPORTANT SAFETY INSTRUCTIONS ........................ 2

QUICK START.......................................................... 3

INTRODUCTION ...................................................... 4

TABLE OF CONTENTS ............................................... 6

HOOKUP DIAGRAMS............................................... 7

FEATURES............................................................... 9

REAR PANEL - CONNECTIONS............................... 9

1. MIC INPUTS............................................. 9

2. LINE INPUTS ............................................ 9

3. INSERT .................................................. 10

4. STEREO LINE INPUTS.............................. 10

5. STEREO RETURNS 1-2 ............................ 10

6. TAPE INPUTS / OUTPUTS ....................... 10

7. L/R MAIN OUTPUTS: XLR & 1/4" .......... 11

8. MAIN INSERTS....................................... 11

9. MONO OUT............................................ 11

10. MONO OUT LEVEL Control ...................... 11

11. GROUP OUTS 1-4 .................................. 11

12. GROUP INSERTS .................................... 11

13. AUX SENDS 1-6 ..................................... 11

14. AUX INSERTS ........................................ 12

15. LEFT/RIGHT MONITOR OUTPUTS ........... 12

16. MONO MONITOR OUTPUT...................... 12

17. HEADPHONE OUTPUT............................. 12

18. USB INPUT/OUTPUT .............................. 12

19. TALKBACK MIC....................................... 14

20. POWER ................................................. 14

21. 48V PHANTOM POWER ......................... 14

22. POWER CONNECTION............................. 14

FRONT PANEL - KNOB TWIDDLIN' SECTION......... 15

23. GAIN CONTROL...................................... 16

24. LOW CUT............................................... 16

25. PAD (-20 dB) Switch .............................. 16

26. COMPRESSOR........................................ 17

27. AUX SENDS 1-6 ..................................... 18

28. PRE-FADER / AUX SENDS 1-2 ................ 18

29. INT FX 1-2 / AUX SENDS 5-6................. 18

30. INT FX / AUX 5-6 Switch....................... 18

31. HIGH EQ................................................ 19

32. MID EQ.................................................. 19

33. MID EQ FREQUENCY............................... 19

34. LOW EQ................................................. 19

35. HIGH MID EQ LEVEL ............................... 19

36. LOW MID EQ LEVEL................................ 19

37. PAN....................................................... 19

38. MUTE .................................................... 19

39. OL LED................................................... 19

40. SIG LED ................................................. 20

41. SOLO..................................................... 20

42. ASSIGN ................................................. 20

43. CHANNEL FADER .................................... 20

44. FX1 and FX2.......................................... 20

45. USB Switch............................................ 20

2-TRACK, USB, AUX MASTERS and METERS......... 21

46. LAMP .................................................... 21

47. SUCK KNOB........................................... 21

48. 2-TRACK RETURN LEVEL......................... 21

49. 2-TRACK RETURN SOLO ......................... 21

50. 2-TRACK RETURN TAPE/USB.................. 21

51. USB OUT................................................ 22

52. MASTER AUX SENDS 1-6........................ 22

53. MASTER AUX SENDS SOLO..................... 22

54. STEREO RETURNS 1-2 to AUX 1-4/MAIN 22

55. STEREO RETURNS SOLO.......................... 22

56. 48V LED ................................................ 22

57. POWER LED ........................................... 22

58. LEFT/RIGHT Level Meters....................... 23

59. RUDE SOLO Light ................................... 23

60. SOLO MODE........................................... 23

STEREO EFFECTS PROCESSORS, HEADPHONES, TALKBACK,

MAIN and GROUPS MIX ........................... 24

61. FX1 and FX2 SEND MASTER.................... 24

62. FX1 and FX2 TO AUX 1/AUX 2/MAIN.... 24

63. SIG/OL LED ........................................... 24

64. PRESET DISPLAY .................................... 24

65. PRESET SELECTOR, TAP DELAY and LED.... 25

66. INTERNAL FX MUTE................................ 25

67. SOLO LEVEL ........................................... 25

68. MONITOR LEVEL .................................... 26

69. PHONES LEVEL....................................... 26

70. TALKBACK LEVEL.................................... 26

71. PUSH TO TALK: MAIN, AUX 1-4.............. 26

72. COMPRESSOR........................................ 26

73. GROUPS ASSIGN.................................... 26

74. GROUP 1-4 FADERS ............................... 27

75. MAIN MIX ............................................. 27

APPENDIX A: SERVICE INFORMATION.................... 28

APPENDIX B: CONNECTIONS.................................. 29

APPENDIX C: TECHNICAL INFORMATION................ 31

APPENDIX D: USB and YOU... SB ........................... 36

APPENDIX E: TABLE of EFFECTS PRESETS ................ 37

LIMITED WARRANTY............................................. 38

6 VLZ3 4•Bus

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Hookup Diagrams

desTROYer

Francis

Dustin

on six-string

on bass

on drums

Turntables with phono-level output

Box

Brian on

lead vox

MAIN OUT

BOOTH

PGM

MIC

Mackie d.2 Pro

DJ Production Console

Headphones

Chris

on keys

Mackie HR824mk2

Powered Reference

Monitors L/R

PHONES

MONITOR

GROUP INSERTS

23/24

21/22

Laptop

Computer

with audio

production

software

GROUP OUTS

MONITOR

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

AUX INSERTS

STEREO RETURNS

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC

AUX SENDS

TALKBACK

MIC

TAPE

RIGHT

LINE

LEFT

LINE

MONO

LINE

POWER

PHANTOM

MAIN OUT

OUT

WARNING:

USB

2404

INSERT

OUTPUT

AVIS: RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR

LEVEL

Monitor EQ

(Aux Inserts 1-4)

HD1531

Powered

Speaker

Powered

Speaker

HD1801

Powered

HD1801

Powered

Subwoofer

SRM150

Powered Monitor

Mackie SRM450v2 Powered Speakers

for Stage Monitors (Aux Sends 1-4)

for keyboard player

(Aux Send 5)

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 a Blackheart full stack rig. Each Blackheart cab is mic'd and connected to the channel 8 and 9

mic inputs. Keyboard player Chris is connected to the channel 10 and 11 line inputs...well, Chris isn't

connected to the inputs; his keyboard is! Vocalist Brian is singing through a mic connected to the mic

19 input. A bass guitar is connected to an Ampeg rig which is connected (via DI) to the mic 20 input.

The last four mono channels of each Mackie VLZ3 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 Mackie d.2 Pro DJ mixer) to the line inputs on stereo channels 21/22. The sound

guy (or gal) may monitor levels using headphones (via the headphones output) and/or a pair of Mackie

HR824mk2's connected to the monitor L/R outputs.

Mackie SRM450v2 powered speakers are used as stage monitors for the band; they are connected to

the aux 1-4 send jacks. A Mackie SRM150 powered speaker receives a mono input from the aux 5 send,

and is used as a monitor for Chris (the keyboard player). Graphic EQs are connected to aux inserts 1-4

to help prevent feedback.

The club is driven by connecting a pair of Mackie HD1801 powered subwoofers and a pair of Mackie

HD1531 powered speakers to the main left and right outputs.

A laptop connects to the Mackie VLZ3 4•Bus mixer via the USB port, allowing the 2-channel 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

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Amplifier

modeler

desTROYer

on six-string

Mackie HR824mk2

Powered Reference

Monitors L/R

Francis

on bass

Dustin

on drums

Chris

on keys

Box

Headphones

Brian on

lead vox

Headphone Amp

PHONES

MONITOR

GROUP INSERTS

23/24

21/22

Laptop

Computer

with audio

production

software

GROUP OUTS

MONITOR

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

AUX INSERTS

STEREO RETURNS

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC

AUX SENDS

TALKBACK

MIC

TAPE

RIGHT

LINE

LEFT

LINE

MONO

LINE

POWER

PHANTOM

MAIN OUT

OUT

WARNING:

USB

2404

INSERT

OUTPUT

AVIS: RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR

LEVEL

Once the band has played a few shows and feel that the songs are up to par, then it's time to record

them for posterity and all three adoring fans. The good thing is that the Mackie VLZ3 4•Bus mixer

functions great in both environments... live and recording!

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

1. Drum tracking: wire up everything as shown above. Bus the kick (panned left) to subgroup 1 and

snare (panned right) to subgroup 2 so they are recorded to their own tracks in the DAW. They will show

up on inputs 1 and 2. All four subgroup assign 1-2 Left/Right switches should be engaged so these

signals may be monitored in mono. Bus the tom mics and overhead mics to subgroups 3 and 4; set the

pans as preferred. The subgroup assign 3 left and subgroup assign 4 right switches should be engaged.

These signals are recorded and monitored with the pan image 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 VLZ3 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 Mackie HR824mk2's and nod their collective heads to

the beat.

Typical Recording System

8 VLZ3 4•Bus

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VLZ3 4•Bus Features

PHONES

MONITOR

GROUP INSERTS

23/24

21/22

(TIP=SEND, RING=RETURN)

(BAL/UNBAL)

(MONO)

GROUP OUTS

(BAL/UNBAL)

MONITOR

(MONO)

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

AUX INSERTS

STEREO RETURNS

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC 9

MIC 8

(MONO)

AUX SENDS

(BAL/UNBAL)

TALKBACK

MIC

TAPE

RIGHT

LEFT

MONO

POWER

PHANTOM

MAIN OUT

OUT

USB

INSERT

LINE

INSERT

LINE

INSERT

LINE

OUTPUT

O O +6

LEVEL

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL)

20 21

Rear Panel - Connections

1. MIC INPUTS

PHANTOM POWER

This is a female XLR connector that accepts a

Most modern professional condenser mics require

48V phantom power, which lets the mixer send

low-current DC voltage to the mic’s electronics

through the same wires that carry audio. (Semi-pro

condenser mics often have batteries to accomplish the

same thing.) “Phantom” owes its name to an ability to

be “unseen” by dynamic mics (Shure SM57/SM58, for

instance), which don’t need external power and aren’t

affected by it anyway.

balanced mic or line level input from almost any type of

source. The mic preamps feature our XDR2 design, with

higher ﬁdelity and headroom rivaling any standalone

mic preamp on the market today.

The XLR inputs are wired as follows:

Pin 1 = Shield or ground

Pin 2 = Positive (+ or hot)

Pin 3 = Negative (– or cold)

Phantom power may be selected by pressing up on the

mixer's phantom [21] switch.

We use phantom-powered, balanced inputs just like

the big mega-consoles, for exactly the same reason: This

kind of circuit is excellent at rejecting hum and noise.

Never plug single-ended (unbalanced)

microphones, or ribbon mics into the mic

input jacks if phantom power is on. Do not

plug instrument outputs into the mic XLR input jacks

with phantom power on, unless you are certain it is safe

to do so.

Professional ribbon, dynamic, and condenser mics all

sound excellent through these inputs. The mic/line

inputs will handle any kind of level you can toss at

them, without overloading.

Microphone-level signals are passed through the

mixer's splendid microphone preampliﬁers to become

line-level signals.

2. LINE INPUTS

These 1/4" jacks share circuitry (but not phantom

power) with the mic preamps, and can be driven by

balanced or unbalanced sources.

The XDR2 preamps accept balanced line-level signals

because the mixer is equipped with a -20 dB pad on

channels 1-16 (2404-VLZ3) and channels

To connect balanced lines to these inputs, use a 1⁄4"

Tip-Ring-Sleeve (TRS) plug, wired as follows:

Tip = Positive (+ or hot)

1-24 (3204-VLZ3) so hot signals may pass.

See Appendix B (page 29) for further details and

some rather lovely drawings of the connectors you can

use with your mixer.

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

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PHONES

MONITOR

GROUP INSERTS

23/24

21/22

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

(BAL/UNBAL)

(MONO)

GROUP OUTS

(BAL/UNBAL)

MONITOR

(MONO)

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

AUX INSERTS

STEREO RETURNS

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC 9

MIC 8

(MONO)

AUX SENDS

(BAL/UNBAL)

TALKBACK

MIC

TAPE

RIGHT

LEFT

MONO

POWER

PHANTOM

MAIN OUT

OUT

USB

INSERT

LINE

INSERT

LINE

INSERT

LINE

OUTPUT

O O +6

LEVEL

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL)

20 21

3. INSERT

5. STEREO RETURNS 1-2

These unbalanced 1/4" jacks are for connecting serial

effects processors such as compressors, equalizers,

de-essers, or ﬁlters. The insert point is after the gain

control [23] and low cut ﬁlter [24], but before the

The stereo (aux) returns are designed for 1/4" TRS

balanced or 1/4" TS unbalanced signals, from -20 dB to

+20 dB. They allow the stereo processed output from

external effects processors or other devices to be added

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

the stereo return controls [54].

processed and come back in on the same insert jack.

To 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

another line-level source, not just an effects processor.

SEND to processor

ring

“tip”

(TRS plug)

tip

sleeve

If you are connecting a mono source, use the left

(mono) stereo return input, and the mono signals will

appear on both sides of the main mix.

This plug connects to one of the

mixer’s Channel Insert jacks.

“ring”

RETURN from processor

Tip = send (output to effects device)

Ring = return (input from effects device)

Sleeve = common ground

6. TAPE INPUTS / OUTPUTS

The stereo unbalanced RCA inputs allow you to play a

tape, CD player, iPod^®dock, or other line-level source.

The tape in jacks accept an unbalanced signal using

standard hi-ﬁ hookup cables.

Insert jacks may be used as channel direct outputs;

post-gain, and pre-EQ. See the connector section on

page 30 (ﬁgure G) showing three ways to use insert

cables.

The stereo unbalanced RCA outputs allow you to

record the main stereo mix onto a tape deck, hard disk

recorder, or automatic CD burner, for example. This

lets you make a recording for posterity/archive/legal

purposes whenever the band gets back together again.

4. STEREO LINE INPUTS

The stereo line inputs are designed for 1/4" TRS

balanced or 1/4" TS unbalanced signals. They may

accept any line-level instrument, effects device, CD

player, etc.

The tape output is the stereo main mix, and it is not

affected by the main mix level control [75]. The output

could also be used as an extra set of main outputs for

feeding another zone.

Level control is available -20 dB to +20 dB if you are

connecting a mono source. Use the left (mono) stereo

return input, and the mono signals will appear on both

sides of the main mix.

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PHONES

MONITOR

GROUP INSERTS

23/24

21/22

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

(BAL/UNBAL)

(MONO)

GROUP OUTS

(BAL/UNBAL)

MONITOR

(MONO)

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

AUX INSERTS

STEREO RETURNS

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC 9

MIC 8

(MONO)

AUX SENDS

(BAL/UNBAL)

TALKBACK

MIC

TAPE

RIGHT

LEFT

MONO

POWER

PHANTOM

MAIN OUT

OUT

USB

INSERT

LINE

INSERT

LINE

INSERT

LINE

OUTPUT

O O +6

LEVEL

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL)

20 21

7. LEFT/RIGHT MAIN OUTPUTS: 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 signals and are typically patched to the

inputs of a multitrack deck, or to secondary ampliﬁers

in a complex installation.

line-level signal that represents the end of the mixer

chain, where your fully mixed stereo signal enters the

real world. Connect these to the left or right inputs of

your main power ampliﬁers, powered speakers, or serial

effects processor (like a graphic equalizer or

compressor/limiter). The XLR outputs are 6 dB hotter

than the TRS outputs.

12. GROUP INSERTS

These 1/4" TRS jacks are for connecting serial effects

such as compressors, equalizers, de-essers, or ﬁlters.

The insert point is after the mix amps, but before the

The 1/4" TRS output connectors provide balanced or

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/limiter), or directly to the inputs of the

main ampliﬁer. These are the same signal that appears

at the XLR main outputs, but 6 dB lower when the XLR

is used balanced.

compressor [72]). Refer to the description of the

channel insert on the previous page to see how to make

this connection.

13. AUX SENDS 1-6

These 1/4" TRS connectors allow you to send balanced

or unbalanced line-level outputs to external effects

devices, headphone ampliﬁers, or stage monitors. These

8. MAIN INSERTS

These 1/4" TRS jacks are for connecting serial effects

such as compressors, equalizers, deessers, or ﬁlters. The could either be passive stage monitors powered by an

insert point is after the mix amps, but before the main

mix fader [75]. Refer to the description of the

channel insert on the previous page to see how to make

this connection.

external ampliﬁer, or powered stage monitors with built-

in power ampliﬁers. All six auxes are independent of

each other, so you can run up to six separate aux mixes.

Aux sends 3-4 may either be pre or post fader,

depending on the position of the pre/post switches [28].

For stage monitor work, use pre, so the stage monitors

do not increase in volume when the channel level is

adjusted. Imagine how upsetting that can be to big hairy

drummers. This allows you to set up the monitor mix

and levels just right, and not have it change every time a

channel level is adjusted.

9. MONO OUT

The male XLR connector [balanced] and 1/4" TRS

output connector [balanced or unbalanced] provide

a line-level signal that is a combination of the left and

right main out [7] signals (L+R). You may use this for

a separate mix that does not require a stereo feed, or

to simply test the monaural compatibility of the stereo

mix. Again, when used balanced, the XLR signal is 6 dB

higher than that from the TRS jack.

For external processors, use post. In this way, the

feed to external processors will vary with the channel

level, so the level of any returned effect (like an echo)

will also change if the channel level is changed, keeping

them in the same ratio (wet/dry).

10. MONO OUT LEVEL Control

This is a separate level control for the mono out [9].

It comes after the main mix fader [75], so turning the

main mix fader up and down does affect the mono out

signal. With this control turned all the way up, you will

have 6 dB of extra gain at the mono out.

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PHONES

MONITOR

GROUP INSERTS

23/24

21/22

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

(BAL/UNBAL)

(MONO)

GROUP OUTS

(BAL/UNBAL)

MONITOR

(MONO)

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

AUX INSERTS

STEREO RETURNS

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC 9

MIC 8

(MONO)

AUX SENDS

(BAL/UNBAL)

TALKBACK

MIC

TAPE

RIGHT

LEFT

MONO

POWER

PHANTOM

MAIN OUT

OUT

USB

INSERT

LINE

INSERT

LINE

INSERT

LINE

OUTPUT

O O +6

LEVEL

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL)

20 21

Whenever a solo switch [41, 49, 53, 55, 73] is engaged,

you will only hear the soloed channel(s), 2-track return,

aux(es), and/or group(s) in the headphones. This gives

you the opportunity to audition the channels before

they are added to the main mix. (Solo signals reaching

the headphones are not affected by the channel level or

main level (except in AFL mode), therefore turn down

the phones level ﬁrst, as soloed channels may be loud.)

14. AUX INSERTS

These 1/4" TRS jacks are for connecting serial effects

such as compressors, equalizers, de-essers, or ﬁlters.

The insert point is after the mix amps, but before the

aux send masters [52] and the solo switch [60] (so you

may hear the external processor when soloing the aux

send). Refer to the description of the channel insert on

page 11 to see how to make this connection.

The phones output follows standard conventions:

15. LEFT/RIGHT MONITOR OUTPUTS

Tip = Left channel

These 1/4" TRS jacks provide a balanced line-level

signal that may be used to provide an additional main

mix output or to monitor soloed channels.

Ring = Right channel

Sleeve = Common ground

WARNING: The headphone amp is loud, and

can cause permanent hearing damage. Even

intermediate levels may be painfully loud

Connect these outputs to the inputs of an ampliﬁer,

powered speaker, headphone distribution ampliﬁer, or

recording device.

with some headphones. BE CAREFUL! Always turn the

phones level control [69] all the way down before

connecting headphones or pressing a solo switch, or

doing anything new that may affect the headphone

volume. Then turn it up slowly as you listen carefully.

16. MONO MONITOR OUTPUT

This 1/4" TRS output connector provides a balanced

line-level signal that is a combination of the left and

right monitor out [15] signals (L+R). You may use this

for a separate mix that does not require a stereo feed, or 18. USB INPUT/OUTPUT

to simply test the monaural compatibility of the stereo

mix.

The built-in USB interface allows for some power-

ful and ﬂexible routing. It is a 4x2 interface allowing

you to record up to four streams from the mixer, or to

input stereo playback from a computer and route it to

nearly any output or pair of outputs on the mixer. To

use this feature with a PC, ﬁrst download the PC ASIO

driver from www.mackie.com. If connecting to a Mac,

the mixer will show up as a 4x2 device with no driver

required.

Connect these outputs to the inputs of an ampliﬁer,

powered speaker, headphone distribution ampliﬁer, or

recording device.

17. HEADPHONE OUTPUT

This 1/4" TRS connector supplies the output to your

stereo headphones. It is the same signal that is routed

to the monitor outputs [15-16]. The volume is

controlled with the phones knob [69], right next to the

monitor knob [68].

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PHONES

MONITOR

GROUP INSERTS

23/24

21/22

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

(BAL/UNBAL)

(MONO)

GROUP OUTS

(BAL/UNBAL)

MONITOR

(MONO)

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

AUX INSERTS

STEREO RETURNS

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC 9

MIC 8

(MONO)

AUX SENDS

(BAL/UNBAL)

TALKBACK

MIC

TAPE

RIGHT

LEFT

MONO

POWER

PHANTOM

MAIN OUT

OUT

USB

INSERT

LINE

INSERT

LINE

INSERT

LINE

OUTPUT

O O +6

LEVEL

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL)

20 21

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

(e.g. overheads and toms pan according to desire), this

stereo image is retained in the DAW inputs (assuming

subgroup 1 is set to "L" and subgroup 2 is set to "R").

Any adjustments made to the subgroup drum levels

during the show only pertain to the live show itself;

recording levels are not adjusted in the DAW unless they

are adjusted on the channels. However, compression

settings made on the mixer will apply to the recording.

USB input TO the mixer - playback:

(1) Stereo channel 23/24 (on the 2404-VLZ3) and

31/32 (on the 3204-VLZ3) features a USB button, so one

may route computer output (such as iTunes^®) down the

last stereo channel of the board. This stereo signal may

then be EQ'd, sent to auxiliaries (i.e. to feed monitors,

headphones or effects) and is routable to mains and/or

subgroups via the fader routing features that are

available on all other channels. In short, this signal may

be sent to nearly any desired output or pair of outputs.

Additionally, the gain knob at the top of this channel

strip adjusts the USB input level to the mixer to achieve

an optimal signal level.

Likewise, it is possible to record the main mix to take

home a copy of the live show. These levels are also

pre-main fader. Therefore, levels may be mixed up or

down in the DAW later depending on the needs of the

recording versus the live show. The end result is that

fade-ins and/or fade-outs made during the show do not

affect recorded levels.

(2) The 2-Track Return section features a "ﬂip"

switch, so a "Tape" source (connected via RCA cables,

such as an iPod^®) or the USB signal from a computer

(playing Windows Media Player^®ﬁles, for example) may

be routed to the main bus. This section also features a

solo button and input level adjustment for fading house

music up and down between bands, at a house of

worship, or any other event where this may be

necessary.

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

USB output FROM the mixer - recording, etc:

noticeable latency between the input signal and, say,

the reverb return. This kind of ﬂexible routing allows

for a variety of choices: running aux 5-6 as effects sends

to outboard gear, internal effects sends (native to the

board), DAW plug-ins (via USB) or as monitor mix

feeds...a truly powerful feature! Be sure to review the

software requirements on www.mackie.com to conﬁrm

that the latest device drivers are currently in use.

(1) A variety of different signals may be recorded

via the USB output section, depending on the setup. In

the 'USB OUT' section, the switch on the left [51] will

select either Groups 1-2 or the main mix to feed USB

output channels 1-2. The second switch (to the right)

will select either Groups 3-4 or Aux 5-6 to feed USB

output channels 3-4.

For example, with both USB ouput switches in the

default position (up), true 4-track recording may be

accomplished via routing to subgroups 1-4. The USB tap

points for the subgroups are pre-fader (also pre-insert)

and post-compressor. The signals will show up on the

DAW dependent upon how they are panned on the

channels.

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PHONES

MONITOR

GROUP INSERTS

23/24

21/22

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

(BAL/UNBAL)

(MONO)

GROUP OUTS

(BAL/UNBAL)

MONITOR

(MONO)

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

LINE IN

(BAL/UNBAL)

AUX INSERTS

STEREO RETURNS

(BAL/UNBAL)

(TIP=SEND, RING=RETURN)

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC 9

MIC 8

(MONO)

AUX SENDS

(BAL/UNBAL)

TALKBACK

MIC

TAPE

RIGHT

LEFT

MONO

POWER

PHANTOM

MAIN OUT

OUT

USB

INSERT

LINE

INSERT

LINE

INSERT

LINE

OUTPUT

O O +6

LEVEL

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

TIP=SEND

RING=RETURN

(BAL/UNBAL)

20 21

Never plug single-ended (unbalanced)

microphones, or ribbon mics into the mic

input jacks if phantom power is on. Do not

19. TALKBACK MIC

This is where you plug in your external talkback

microphone if you need to have one. You may use a

dynamic or self-powered condenser microphone.

plug instrument outputs into the mic XLR input jacks

with phantom power on, unless you know for certain it

is safe to do so. Be sure the main level [75] is turned

down when connecting microphones to the mic inputs

20. POWER

Press the top of this rocker switch inwards to turn on

the mixer. The front panel power LED [57] will glow

with happiness, or at least it will if you have the mixer

plugged into a suitable live AC mains supply.

when phantom power is turned on, to prevent pops from

getting through to the speakers.

22. POWER CONNECTION

Press the bottom of this switch to put the mixer into

standby mode. It will not function, but some circuits

This is a standard 3-prong IEC power connector.

Connect the detachable linecord (included in the box

are 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

and the AC mains supply.

other end of the linecord into an AC outlet. The

VLZ3 4•Bus Series Mixers have a universal power

supply that can accept any AC voltage ranging from

100 VAC to 240 VAC. No need for voltage select switches.

It will work virtually anywhere in the world. That’s why

we call it a “Planet-Earth” power supply! It is less

susceptible to voltage sags or spikes, compared to

conventional power supplies, and provides greater

electromagnetic isolation and better protection against

AC line noise.

As a general guide, you should turn on your

mixer ﬁrst, before any external power

ampliﬁers or powered speakers, and turn it off

last. This will reduce the possibilities of any turn-on, or

turn-off thumps in your speakers.

21. 48V PHANTOM POWER

Most modern professional condenser mics require

48V phantom power, which lets the mixer send low-

current DC voltage to the mic’s electronics through the

same wires that carry audio. (Semi-pro condenser mics

often have batteries to accomplish the same thing.)

“Phantom” owes its name to an ability to be “unseen”

by dynamic mics (Shure SM57/SM58, for instance),

which don’t need external power and aren’t affected by

it anyway.

Disconnecting the plug’s ground pin is

dangerous. Don’t do it.

Press this switch in if your microphone requires

phantom power. (Always check the position of this

switch before connecting microphones.) A red

LED [56] will illuminate just above the main mix

meters [58] to indicate that phantom power is active.

This is a global switch that affects all mic channels' XLR

jacks at once.

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VLZ3 4•Bus Features

Front Panel - Channel Strip

21/22

23/24

GAIN

-20 +20

FX 1

-20 +20

FX 2

+15dB -45dB

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

18dB/OCT

PAD

USB

-20dB

OFF

COMP

MAX

OFF

COMP

MAX

OFF

COMP

MAX

OFF

COMP

MAX

AUX

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

FX1

O O +15

FX2

O O +15

INT FX

O O +15

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

12k

-15 +15

MID

2.5k

MID

2.5k

-15 +15

800

-15 +15

800

-15 +15

800

-15 +15

800

-15 +15

800

-15 +15

FREQ

LOW

MID

LOW

MID

200

100

200

100

200

100

200

100

200

100

400Hz

-15 +15

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

-15 +15

PAN

BAL

21/22

23/24

MUTE

38 _MUTE

MUTE

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SOLO

1-2

3-4

L/R

O O

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21/22

23/24

GAIN

-20 +20

FX 1

-20 +20

FX 2

+15dB -45dB

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

18dB/OCT

PAD

USB

-20dB

OFF

COMP

MAX

OFF

COMP

MAX

OFF

COMP

MAX

OFF

COMP

MAX

24. LOW CUT

Channel Controls

All mono channels have a low-cut switch (often

referred to as a high-pass ﬁlter) that cuts bass

frequencies below 100 Hz at a rate of 18 dB per octave.

The vertical channel strips look very similar, and

have only a few differences between them. Each

channel works independently, and just controls the

signals plugged into the inputs directly behind it.

We recommend that you use low-cut on every

microphone application except kick drum, bass guitar,

or bassy synth patches. These aside, there isn’t much

down there that you want to hear, and ﬁltering it out

makes the low stuff you do want much more crisp and

tasty. Not only that, but low-cut can help reduce the

possibility of feedback in live situations, and it helps to

conserve ampliﬁer power.

“U” like Unity gain

Mackie mixers have a “U” symbol on almost every level

control. It stands for “unity gain,” meaning no change in

signal level. The labels on the controls are measured in

decibels (dB), so you’ll know what you’re doing

level-wise if you choose to change a control’s settings.

Another way to consider low-cut’s function

is that it actually adds ﬂexibility during live

performances. With the addition of low-cut,

23. GAIN CONTROL

If you haven’t already, please read the level-setting

procedure on page 3.

you can safely use low equalization on vocals.

Many times, bass shelving EQ can really beneﬁt voices.

Trouble is, adding low EQ also boosts stage rumble, mic

handling clunks and breath pops from way-down low.

Applying low-cut removes all those problems, so you can

add low EQ without blowing your subwoofers.

The gain knobs adjust the input sensitivity of the mic

and line inputs. This allows signals from the outside

world to be adjusted to run through each channel at

optimal internal operating levels.

If the signal originates through the mic XLR jack,

there will be 0 dB of gain with the knob fully down,

ramping to 60 dB of gain fully up.

25. PAD (-20 dB) Switch

In most cases, the pad switch will be disengaged.

However, microphones and balanced line-level signals

that produce a higher output than usual may require

that the gain control [23] is turned way down. If this is

the case, engage the pad switch to allow an additional

20 dB at the input to the mic preamp. This prevents

overloading the microphone preamp and provides better

gain control. The pad only applies to XLR inputs, not the

1/4" TRS inputs.

Through the 1⁄4" line input of channels 1-20 (2404-

VLZ3) and channels 1-28 (3204-VLZ3), there is 15 dB of

attenuation fully down and 45 dB of gain fully up, with

unity gain "U" at 10:00.

Through the 1⁄4" line input of channels 21/22 and

23/24 (2404-VLZ3) and 29/30 and 31/32 (3204-VLZ3),

there is 20 dB of attenuation fully down and 20 dB of

gain fully up, with unity gain "U" at 12:00.

This 20 dB of attenuation can be very handy when you

are inserting a hot signal, or when you want to add EQ

gain, or both. Without this “virtual pad,” there is more

chance of channel clipping.

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26. COMPRESSOR

+20

Each of the last four mono channels in the

VLZ3 4•Bus mixer has an in-line compressor circuit

with a variable threshold. This is very useful for

compression of vocals, and snare drums, for example,

so you might consider connecting your microphones

and drum mics to these channels, rather than other

channels.

+15

+10

When the incoming signals exceed the threshold level

set by this knob, the signal level is automatically

compressed. This reduces the dynamic range, and

reduces the chance of distortion due to overloading the

input signals.

-5

Dynamic range is the difference in level

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 sound.

-10

-5

+10

+15

+20

INPUT SIGNAL STRENGTH dBu

At the maximum compression, the threshold is set at

0 dBu, and the input to output relationship is

The compression ratio is ﬁxed at around 6:1, with

a soft knee response. The threshold can be adjusted

clockwise from off (no compression) to 0 dBu (max).

represented by the lower curve. If the input is -5 dBu

(that is, below the threshold), the output is -5 dBu. As

the input reaches 0 dBu, the output is a bit less than

0 dBu. If the input is +5 dBu, the output is about

+2 dBu. If the input reaches +10 dBu, then the output

is +3 dBu. Notice the shapely curve of the soft knee

between the diagonal slope of x = y and the compressor

slope of 6:1 (the compression ratio).

As an example, suppose the threshold is set to

maximum. An incoming signal reaches the threshold of

0 dBu. As it increases beyond the threshold, it becomes

compressed at a ratio of 6:1. This means that even if the

input further increases by 6 dB, the actual output only

increases by 1 dB. This compresses the output signal, so

there is more protection to your system from distortion

and overload due to poor microphone technique (say

it ain't so) and general pops, bangs and heavy metal

screaming. The soft knee means that the compression

slowly ramps up to 6:1 from the threshold. It does not

jump abruptly to 6:1, as this would be hard knee

compression, and harder on the ears too.

The other blue curves represent in-between positions

of the compressor knob, with higher thresholds before

compression begins.

Outboard compressors often have controls such as

compression ratio, threshold, soft knee/hard knee,

attack time, and release time. These last two affect how

quickly the compressor kicks in when the input exceeds

the threshold, and how quickly it is released after it

drops below the threshold. In this compressor, these

parameters are specially chosen to give you the best

overall performance.

The graph on this page shows the input signal level

going into the compressor, versus the output level

coming out of it. It is the typical graph to see when

compressors are discussed, and is just the kind of thing

our engineers like to discuss during the company

Christmas party*.

Adjust the threshold carefully, so your dynamic range

is still lovely, without distortion or overload during the

performance. Run through a few practice screams and

high-notes, and adjust the compression as required.

If the compressor is off, then the input = output. For

example an input signal level of +5 dBu results in an

output level of +5 dBu. The diagonal line from lower left

to upper right represents x = y, that is, input = output.

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

graphs might come in handy for me one day. Finally!

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AUX

27. AUX SENDS 1-6

29. INT FX 1-2 / AUX SENDS 5-6

PRE

These controls allow you to set up

to six independent mixes, typically

for running stage monitors or

external effects processors.

These controls have dual functions depending on

what your needs are at any given time. They allow you

to send signal either to internal effects FX1 and FX2, or

to aux 5 and aux 6, typically used for running stage

monitors or external effects processors.

O O +15

PRE

O O +15

The controls are off when turned

fully down, deliver unity gain at the

center, and can provide up to 15 dB

of gain turned fully up. Chances are

that you will never need this extra

gain, but it's nice to know that it's

there if you do.

27₃

Aux Sends 5-6 (or FX1-2) are post-fader. Any changes

made to the channel controls will affect the signal going

to the internal effects processors or to the aux 5-6

output jacks [13]. Adjustments to the channel fader

[43], gain [23] and channel EQ [31-36] will affect the

feed going to the internal effects processors.

O O +15

PRE

FX1

Aux Sends 1-6 [13] are line-level

outputs, and are used if you want

to connect external processors,

powered stage monitors, or external

power amps with passive stage

monitors. Stereo Returns 1-2 [5]

are line-level inputs, typically used

to return the output from external

processors back to the main mix.

30. INT FX / AUX 5-6 Switch

O O +15

This switch determines if that channel's controls

[29, above] will be used for running the internal effects

processors (engaged) or as aux 5-6 (disengaged).

FX2

O O +15

INT FX

AUX 5/6

CHANNEL EQUALIZATION (EQ)

All VLZ3 4•Bus mono channels have 3-band EQ with

shelving high, peaking mid with adjustable mid

12k

-15 +15

Carefully adjust how much of each frequency and shelving low. The stereo channels have

channel appears in your aux mixes.

For example, if you are running

stage monitors, and someone wants

"more me, and less them," adjust

these carefully.

peaking hi-mid and peaking low-mid EQ controls in

addition to the shelving high and shelving low EQ

controls.

MID

-15 +15

800

FREQ

200

Shelving means that the circuitry boosts or cuts all

frequencies past the speciﬁed frequency. For example,

100

Aux sends 3-4 can either be pre or the low EQ boosts bass frequencies below 80 Hz and

post fader, depending on the position continuing down to the lowest note you never heard.

LOW

80Hz

-15 +15

of the aux pre/post switches [28].

For stage monitor work, use pre, so

the stage monitors do not increase in

Peaking means that certain frequencies form a “hill”

around the center frequency.

Mono channel

With too much EQ, you can really upset things. We’ve

designed a lot of boost and cut into each equalizer

circuit because we know that everyone will occasion-

ally need that. But if you max the EQ on every channel,

you’ll get mix mush. Equalize subtly and use the left

sides of the knobs (cut), as well as the right (boost). If

you ﬁnd yourself repeatedly using a lot of boost or cut,

consider altering the sound source, such as placing a

mic differently, trying a different kind of mic, a different

vocalist, changing the strings, or gargling.

volume when the channel level is adjusted. For external

processors, use post. In this way, the feed to external

processors will vary with the channel level, keeping

them in the same ratio (wet/dry).

28. PRE-FADER / AUX SENDS 1-2

Aux sends 1-2 are always pre-fader, designed for

stage monitor applications. Aux sends 3-4 may be set to

pre- or post-fader, so they may be used for monitors or

effects.

Pre-fader: with the pre switch engaged (pressed in,

not commited to marriage), aux 3 and 4 deliver signals

post-insert, post-low cut, post EQ, post-mute and pre-

fader. Any changes made to the channel controls, except

the fader, will affect the aux send signal.

Post-fader: with the pre switch disengaged (up), aux

3 and 4 deliver signals post-insert, post-low cut, post-

mute, post-EQ and post-fader. Any changes made to the

channel controls will affect the aux send signal.

18 VLZ3 4•Bus

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31. HIGH EQ

37. PAN

AUX

PRE

+15

+10

The high EQ provides up to

15 dB of boost or cut above

12 kHz, and it is also ﬂat (no

boost or cut) at the detent.

Use it to add sizzle to cymbals,

an overall sense of

transparency, or an edge to

keyboards, vocals, guitar and bacon frying. Turn it down

a little to reduce sibilance or to mask tape hiss.

This control allows you to adjust

how much of the channel signal is sent

to the left versus the right outputs.

O O +15

PRE

–5

With the knob panned hard left, the

signal feeds the main left, group 1, or

group 3 busses, depending on the

setting of the assign switches [42].

With the knob panned hard right, the

signal feeds the main right, group 2,

or group 4 busses, again dependent on

the setting of the assign switches [42].

–10

–15

O O +15

27₃

20Hz

100Hz

1kHz

10kHz 20kHz

O O +15

PRE

32. MID EQ and 33. FREQ (mono channels only)

The mono channels employ

+15

FX1

The pan control employs a design

called “Constant Loudness.” If you

have a channel panned hard left (or

right) and then pan to the center,

the signal is attenuated about 3 dB to

maintain the same apparent loudness.

Otherwise, it would make the sound

appear much louder when panned

center. This control is properly called

"BAL" for balance in the stereo

channels.

+10

a semi-parametric mid-sweep

EQ. The gain (up to 15 dB of

boost or cut) is set via the mid

eq [32], and then "aimed" at a

speciﬁc frequency, from

100 Hz to 8 kHz, via freq [33].

O O +15

29₆

–5

FX2

–10

–15

O O +15

INT FX

20Hz

100Hz

1kHz

10kHz 20kHz

AUX 5/6

34. LOW EQ

12k

+15

The low EQ provides up to

15 dB of boost or cut below

80 Hz. The circuit is ﬂat at

the center detent position.

This frequency represents the

punch in bass drums, bass

guitar, fat synth patches, and

-15 +15

+10

MID

2.5k

-15 +15

–5

38. MUTE

–10

–15

LOW

MID

Mute switches do just what they

sound like they do. They turn off the

signal by “routing” it into oblivion.

Engaging a channel's mute switch

(almost) provides the same results

as turning the fader all the way down

(a pre-aux send is not affected by the

channel fader, but it is by the mute

switch). Any channel assignments

to main mix, group 1-2, or group 3-4

will be interrupted and all of the aux

sends will be silenced (both pre- and

post-fader). The channel insert [3]

will continue to provide a signal when

a channel is muted. The OL LED [39]

will illuminate when a channel's mute

switch is engaged.

400Hz

20Hz

100Hz

1kHz

10kHz 20kHz

-15 +15

some really serious male singers who eat raw beef for

breakfast.

LOW

80Hz

-15 +15

BAL

35. HIGH MID EQ LEVEL (stereo channels only)

The high mid EQ provides

up to 15 dB of boost or cut

at 2.5 kHz, and it is ﬂat at

the detent. Midrange EQ is

often thought of as the most

dynamic because the

frequencies that deﬁne any

particular sound are almost always found within this

range. For example, the female vocal range as well

as the fundamentals and harmonics of many

higher-timbred instruments.

+15

+10

23/24

MUTE

–5

–10

–15

20Hz

100Hz

1kHz

10kHz 20kHz

40 _SIG

SOLO

1-2

39. OL LED

36. LOW MID EQ LEVEL (stereo channels only)

The low mid EQ provides up

to 15 dB of boost or cut at

400 Hz, and is ﬂat at the

detent. Frequencies affected

typically include the male

vocal range as well as the

This LED indicates the channel’s

signal level after the gain and EQ

controls, but just before the channel’s

level. So even if the level is turned

down, you can see if the channel is

being overloaded.

3-4

+15

+10

L/R

O O

–5

–10

–15

Stereo channel

20Hz

100Hz

1kHz

10kHz 20kHz

fundamentals and harmonics

of many lower-timbred instruments.

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The OL (overload) LED will come on when the

channel’s input signal is too high. This should be

avoided, as distortion will occur. If the OL LED comes

on regularly, check that the gain control [23] is set

correctly for your input device, and that the channel

EQ is not set with too much boost. The OL LED will

also illuminate when a channel's mute switch [38] is

engaged.

With the pan knob at the center detent, the left and

right sides receive equal signal levels (main mix L-R,

group 1-2, and group 3-4). To feed only one side or the

other, turn the pan knob accordingly.

If you are doing a mixdown to a 2-track, for example,

simply engage the main mix switch on each channel

that you want to hear, and they will be sent to the main

mix bus. If you want to create a group of certain

channels, engage either the 1-2 or 3-4 switches instead

of the main mix, and they will be sent to the appropriate

group faders. From there, the groups may be sent back

to the main mix (using the group assign switches [73]

above the group faders [74]), allowing you to use the

group faders as a master control for those channels.

40. SIG LED

This LED also indicates the channel’s signal level

after the gain and EQ controls, but just before the

channel’s level. So even if the level is turned down, you

can see if a signal is present.

The SIG (signal) LED will come on when the

channel’s input signal (at least -20 dBu) is present.

It should illuminate non-stop if signal above 0 dBu is

present in that channel. This LED will be solid when a

channel's solo switch [41] is engaged.

If you are creating new tracks or bouncing existing

ones, you will also use the 1-2 and 3-4 switches, but not

the main mix switch. Here you do not want the groups

sent back into the main mix bus, but sent out, via the

group out jacks [11], to your multitrack inputs.

41. SOLO

43. CHANNEL FADER

Whenever a channel's solo switch is engaged, you

will hear only the soloed channel(s) in the headphones

and monitor outputs. This gives you the opportunity to

This is the last control in a channel’s signal path, and

it adjusts the level of each channel onto the main mix.

The “U” mark indicates unity gain, meaning no increase

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

when the channel's fader is down.

additional 10 dB, should you need to boost a section of

a song. If you ﬁnd that the overall level is too quiet or

too loud with the level near unity, check that the gain

control [23] is set correctly.

Solo is also used to set the gain of each channel

correctly. When a channel is soloed, you can adjust the

channel gain [23] until your input source reaches the

level of the 0 dB LED of the left meter. Select PFL on

the SOLO MODE switch [60] for gain setting.

44. FX1 and FX2

When engaged, these switches, located just below the

stereo channels' gain controls [23], indicate that you

want to return the internal FX processor signal to the

stereo channel. The TRS inputs are disengaged when

the switch is depressed.

Solo signals reaching the headphones and

monitor outputs are not affected by the

channel level (unless the SOLO MODE switch

is set to AFL) or main level; therefore, turn

down the phones level [69] and monitor level [68] ﬁrst,

as soloed channels may be loud.

Remember to turn the FX processor level

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

control room is just the soloed channel(s), 2-track

return, stereo return(s), aux(es), and/or group(s). If

the solo source is an input channel, that channel's SIG

(signal) LED [40] will illuminate when that channel is

soloed.

See Appendix E (page 37) for a list of the effects

provided and a description of each one.

45. USB Switch

The USB switch on the last stereo channel provides

stereo playback of iTunes^®, or a DAW via the USB

connection. Like any other input, this signal may also

be EQ'd, sent to an aux bus, or mixed in with the other

signals and assigned to subgroups or main outs. This

switch overrides both the TRS inputs [5] and the FX2

switch [44].

42. ASSIGN

Alongside each channel fader are three buttons

referred to as channel assignment switches. Used in

conjunction with the channel's pan knob [37], they

are used to determine the destination of the channel's

signal.

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50%

So, the original unprocessed “dry” signals go from

the channels to the main mix, and the processed “wet”

signals go from the stereo returns to the main mix, and

once mixed together, the dry and wet signals combine to

create a glorious sound!

25%

75%

2404

12V

100%

0.5A

SUCK

2-TRACK RETURN

USB OUT

CH 3-4

^{CH 1-2}51

48V

PWR

49 50

SOLO

TAPE

USB

GRP 1-2

MAIN L/R

GRP 3-4

AUX 5-6

Pre-fader aux sends are typically used to provide

another mix for stage monitors. If no external effects

are being used, the stereo returns can be used as

additional stereo inputs, or not used at all.

O O +20

MAIN

MIX

TO MAIN

AUX MASTERS

STEREO RETURNS

LEFT RIGHT

AUX

SOLO

O O +15

Read on to learn more about these features...

AUX

SOLO

O O +15

46. LAMP

AUX

This female BNC connector provides 12 volts DC with

the center pin positive. Connect any quality gooseneck

lamp here.

SOLO

O O +15

LEVEL

SET

AUX

SOLO

O O +15

0 dB=0 dBu

47. SUCK KNOB

MAIN

If the band performing asks you if you can make them

sound better, reply with a resounding 'yes, indeed I can

make you sound better...I will turn down the Suck Knob

[47] which will do wonders for your band!"

RUDE SOLO

SOLO

O O +15

SOLO MODE

SOLO

PFL

AFL

SOLO

O O +15

As seen, it is broken down in percentages, from 0%

suck (turned fully counter-clockwise) to 100% suck

(turned fully clockwise). This way you get to determine

the 'Suck Factor Percentage' (SFP) of the band.

2-Track, USB, Aux Masters and

Meters

If they follow instructions, buy you beers, and are a

swell bunch, turn the knob counter-clockwise. If the

drummer hits the snare drum or the guitarist does a

screaming harmonic dive-bomb while you're setting up

mics on their respective equipment (and thusly helping

to ruin your hearing...huh?), feel free to crank the knob

clockwise.

This section includes the 2-track returns, USB, aux

masters and stereo returns, and the meters. A 4x2 USB

recording and playback function is at your disposal.

This means up to four signals may be recorded

simultaneously and a stereo mix returned to the mixer

for playback.

48. 2-TRACK RETURN LEVEL

The six auxes receive signals from the channels via

the channel aux sends [27, 29]. Auxes 1-4 may also be

fed from stereo returns 1-2 [54] and talkback [70, 71]

and aux 1-2 may get internal effects processor output

via the FX to AUX controls [62]. Any or all of these

signals are mixed together, sautéed to a turn and sent

out the aux send jacks [13] after the optimum output

level is determined by the aux masters [52]. Aux sends

from the channels are pre-fader (aux 1-2), selectable

pre- or post-fader (aux 3-4), and post-fader (aux 5-6).

All are post-EQ.

This knob controls the overall level to the mains of

the tape (RCA) or USB, depending on the position of

the 2-track return tape/USB switch [50]. This knob's

level ranges from off, through unity (center detent

position), on up to 20 dB of extra gain (fully clockwise).

49. 2-TRACK RETURN SOLO

This switch sends the 2-track return (tape or USB,

depending on the position of the switch[50]) to the solo

bus.

Post-fader aux sends can be fed to the inputs of an

external processor like a reverb or digital delay. From

there, the outputs of this external processor are fed

back to the mixer’s stereo return jacks [5]. Then these

signals are sent through the stereo return level controls

[54], and ﬁnally delivered to the main mix or to auxes

1-4 to add effects to monitors if so desired by the talent

["More me! More reverb!"].

50. 2-TRACK RETURN TAPE/USB

This determines if the 2-track return gets its signal

from the RCA "tape" inputs (switch disengaged) or USB

(switch engaged).

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50%

53. MASTER AUX SENDS SOLO

25%

75%

2404

This button allows you to solo an individual aux send.

If you are using the aux sends to feed your stage

monitors, you may use these buttons to check your

monitor mix. The rude solo LED [59] will ﬂash to let

you know the solo system is active.

12V

100%

0.5A

SUCK

2-TRACK RETURN

USB OUT

CH 3-4

^{CH 1-2}51

48V

PWR

49 50

SOLO

TAPE

USB

GRP 1-2

MAIN L/R

GRP 3-4

AUX 5-6

O O +20

MAIN

MIX

TO MAIN

AUX MASTERS

STEREO RETURNS

LEFT RIGHT

The aux send solo is AFL and is not affected by the

solo mode switch (PFL/AFL) [60], except that in PFL

mode only the left meter indicates the signal.

AUX

SOLO

O O +15

AUX

54. STEREO RETURNS 1-2 to AUX 1-4/MAIN

SOLO

O O +15

These ten controls set the overall level of line signals

received from the stereo return 1-2 inputs [5]. These

controls range from off to +15 db of gain when fully

clockwise, to compensate for low-level effects.

AUX

SOLO

O O +15

LEVEL

SET

AUX

Signals passing through these controls go directly to

the main mix and aux 1-4 buses where they are

combined with signals from the channels.

SOLO

O O +15

0 dB=0 dBu

MAIN

RUDE SOLO

SOLO

O O +15

SOLO MODE

55. STEREO RETURNS SOLO

This button allows you to solo a stereo return. The

rude solo LED [59] will ﬂash to let you know that the

solo system is active. Since this is an input, this signal is

affected by the PFL/AFL master switch.

SOLO

PFL

AFL

SOLO

O O +15

56. 48V LED

51. USB OUT

Most modern professional condenser mics require

48V phantom power, which lets the mixer send

low-current DC voltage to the mic’s electronics

through the same wires that carry audio. (Semi-pro

condenser mics often have batteries to accomplish the

same thing.) “Phantom” owes its name to an ability to

be “unseen” by dynamic mics (Shure SM57/SM58, for

instance), which don’t need external power and aren’t

affected by it anyway.

These two switches allow for monstrous ﬂexibility on

the four recordable signals. The default switch

conﬁguration (disengaged) routes subgroups 1-4 over

the USB connection to your favorite DAW software for

a "mix it later" 4-track recording. Engaging the switch

on the left allows the main L-R mix to be recorded for

convenient stereo mixes of the show. The other switch

allows aux 5/6 to be sent to the DAW for a unique stereo

recording or the use of DAW plug-ins as effects.

Phantom power for all mic inputs (except the talk-

back mic) may be selected by pressing up on the

mixer's phantom [21] switch.

52. MASTER AUX SENDS 1-6

Never plug single-ended (unbalanced)

microphones, or ribbon mics into the mic

input jacks if phantom power is on. Do not

plug instrument outputs into the mic XLR input jacks

with phantom power on, unless you are certain it is safe

to do so.

These knobs provide overall control over the aux send

levels, just before they are delivered to the aux send

outputs [13]. These knobs go from off to +15 db when

turned all the way up.

This is usually the knob you turn up when the lead

singer glares at you, points at his stage monitor, and

sticks his thumb up in the air. (It would follow that if

the singer stuck his thumb down, you’d turn the knob

down, but that never happens.)

57. POWER LED

This green LED will illuminate when the mixer is

turned on, as a reminder of how on it really is. If it is

not on, then it is off, and the mixer becomes a rather

nice weight for keeping your morning newspaper from

blowing away in the wind.

Keep in mind that aux sends 3-4 may either be

pre or post fader, depending on the position of

the channel's aux pre/post switch [28].

If it does not turn on, make sure the power cord is

correctly inserted at both ends, the local AC mains

supply is active, and the power switch [20] is on.

22 VLZ3 4•Bus

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58. LEFT/RIGHT Level Meters

60. SOLO MODE

These peak meters are made up of two columns of

twelve LEDs, with three colors to indicate different

Engaging a channel's solo switch [41] will cause this

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

the top.

at the monitor outputs [15, 16], phones [17] and at

the left meter [58] (left and right meters when in AFL

solo mode). The audible solo levels are then controlled

by the solo knob [67]. The discrete level controls for

headphones and monitor outputs are dependent on

what is plugged in.

When a channel is soloed in PFL, the right meter

shows no reading, and the left meter shows the level of

that channel’s signal level, pre-fader.

In AFL, both left and right meters illuminate to

indicate the 'After Fader Level' of the signal and stereo

imaging. AFL is always used for outputs, regardless

of the position of the PFL/AFL master switch, as you

always want to view the output level after the fader.

With the solo mode switch in the up position, you are

in PFL mode, meaning Pre-Fader Listen. This mode is

required for the "Set the Levels" procedure and is handy

for quick spot-checks of channels, especially ones that

have their faders turned down. PFL mode is only

available to input signals. While in PFL mode, if an

output is soloed, its signal will show up, but it will be an

AFL signal.

The left meter's 0 dB LED is labeled "level set" to

show where the level should be when adjusting a

channel’s gain [23] in the solo mode (as described in

“Set the Levels” on page 3).

With the solo mode switch down, you are in AFL

mode, meaning After-Fader Listen. You will be able to

hear the stereo output of the soloed channel - it will

follow the channel's fader [43] and pan [37] settings.

It is similar to muting all of the other channels, but

without the hassle. AFL mode is the only soloing mode

for subgroups and aux masters. Subgroups 1-2 or 3-4

may be soloed simultaneously for a true stereo image.

When 0 dBu (0.775 V) is at the main left and right

TRS outputs [7], it shows as 0 dB on the meters.

You can get a good mix with peaks ﬂashing anywhere

between –20 and +10 dB on the meters. Most ampliﬁers

clip at about +10 dBu, and some recorders aren’t so

forgiving either. For best real-world results, try to keep

your peaks between “0” and “+6.” Remember, audio

meters are just tools to help assure you that your levels

are “in the ballpark.” You don’t have to stare at them

(unless you want to).

AFL is a new feature available to channel inputs and

provides a mixdown solution that allows soloing the mix

as it is on the faders.

In PFL mode, solo will not be affected by a channel's

mute switch [38] position.

59. RUDE SOLO Light

This large red LED ﬂashes when one or more solo

switches are engaged [41, 49, 53, 55, 73]. This acts as

a reminder that what you hear in the control room and

headphones is the soloed channel(s), 2-track return,

stereo return, aux(es), and/or group(s). If you forget

that you are in solo mode, you can easily be tricked

into thinking that something is wrong with your mixer.

Hence, the rude solo light. Please forgive its rudeness, it

is only trying to help, and wants to be your friend.

Remember, PFL mode taps the channel signal

before the fader. If you have a channel's fader

set way below "U" (unity gain), solo will not

know that and will send a unity gain signal to the

monitor outputs [15, 16], phones output [17], and

meter display [58]. That may result in a startling level

boost at these outputs when switching from AFL to PFL

mode, depending on the position of the solo level

knob [67].

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Or the FX returns may be routed to the stereo input

channels[23/24 on the 2404 VLZ3, 31/32 on the 3204

VLZ3], using the the FX1 and/or FX2 switches [44].

This allows for way more ﬂexibility. For example, you

can EQ the FX and send them to any aux, group, or

main. Just remember to turn the 'to aux 1', 'to aux 2'

and 'to main' knobs [62] fully counter-clockwise to

avoid double-bussing.

FX 1

FX2

SIG/OL

O O MAX

SOLO

O O MAX

SEND MASTER

TO AUX 1

SEND MASTER

TO AUX 1

TAP

O O MAX

MONITOR

O O MAX

DELAY

TO AUX 2

The talkback feature allows the engineer to

communicate with the talent either through the phones

output [17] or the aux 1-4 send outputs [13] using

an external talkback microphone. This saves a lot of

shouting over the audience's heads as you set up the

talented one's stage monitors to their peculiarly-picky

satisfaction.

INT FX

MUTE

INT FX

MUTE

O O MAX

TO MAIN

O O MAX

TO MAIN

O O MAX

PHONES

GROUPS

TALKBACK

O O MAX

LEVEL

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

COMP

STEREO

61. FX1 and FX2 SEND MASTER

PUSH

TO TALK

SOLO

LEFT

SOLO

LEFT

SOLO

LEFT

SOLO

LEFT

These knobs control the level of the signals going into

each internal effects processor. Adjust them carefully,

keeping an eye on the adjacent sig/ol LED [63] to

prevent overloading the effects processor.

AUX 1-4

MAIN

RIGHT

MAIN MIX

62. FX1 and FX2 TO AUX 1/AUX 2/MAIN

These knobs route the effects output to aux 1, aux

2 and mains independently. Use aux 1 and aux 2 to

provide effects to monitors. Slowly add effects to the

monitors by turning the 'to aux 1' and 'to aux 2' knobs

clockwise. Use the aux master to monitor the amount

sent. The FX output to the mains will be heard directly

from the PA.

63. SIG/OL LED

These dual-LEDs illuminate green when the signal

level going into each effects processor is within a good

operating range (sig). They illuminate red if the effects

processor is overloaded with too strong of a signal (ol).

Turn down the send master levels [61] and check the

channel sends if these light red regularly.

O O

Stereo Effects Processors,

Headphones, Talkback, Main

and Groups Mix*

The signals going into the processors are affected by

the channels' aux 5/6 sends [29], the channel gain [23],

EQ [31-36], and channel faders [43], as well as the FX

Send Master [61].

There are two identical Mackie Running-Man 32-bit

internal effects processors. They are mono-in, stereo-out

effects processors, with 24 presets each. Signals to these

effects processors come from adjusting the FX1 and/or

FX2 aux send [29] on each channel and the FX masters

[61].

64. PRESET DISPLAY

These displays show the number of the currently

selected effects preset, as shown in the list of presets

silkscreened above. Rotate the preset selector knob

right or left to change a preset.

The stereo output from each processor may be added

to the main mix using the 'FX to main' knob [62]. The

stereo output from each processor may also be added to

aux 1 and/or aux 2 by adjusting the 'FX to aux' control

[62].

A new preset will be loaded approximately 1/4 of a

second after you stop turning the knob, and it will be

stored into the FX memory after about one second.

When the VLZ3 4•Bus mixer is turned on, the FX

section will load up the last-used preset.

24 VLZ3 4•Bus

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FX 1

FX2

Plate Reverb

Vocal Plate

13 Chorus

SIG/OL

14 Chorus + Reverb

15 Doubler

Warm Room

Bright Room

Warm Lounge

Small Stage

Warm Theater

Bright Stage

Warm Hall

O O MAX

SOLO

O O MAX

SEND MASTER

TO AUX 1

SEND MASTER

TO AUX 1

16 Tape Slap

17 Delay 1 Brt 350ms

18 Delay 1 Wrm 300ms

19 Delay 2 Brt 250ms

20 Delay 2 Wrm 200ms

21 Delay 3 Brt 175ms

22 Delay 3 Wrm 150ms

23 Chorus + Dly 300ms

24 Reverb + Dly 200ms

TAP

O O MAX

MONITOR

O O MAX

DELAY

TO AUX 2

INT FX

MUTE

INT FX

MUTE

O O MAX

TO MAIN

O O MAX

TO MAIN

O O MAX

PHONES

10 Concert Hall

11 Cathedral

GROUPS

TALKBACK

O O MAX

LEVEL

12 Gated Reverb

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

COMP

STEREO

The knob also offers a tap delay function for presets

17-24. This works as follows:

PUSH

TO TALK

SOLO

LEFT

SOLO

LEFT

SOLO

LEFT

SOLO

LEFT

1. Use the knob to select a preset from 17 to 24.

2. Press the knob in at least two times.

AUX 1-4

MAIN

The DSP processor will calculate the time delay

between the last two pushes, and it will assign

this time interval to the echoes of the current

digital delay.

RIGHT

MAIN MIX

The minimum tap delay is 50 ms and the

maximum is 500 ms.

•

If your taps are faster than 50 ms, they will

be set to 50 ms.

If taps are 500 ms to 1 second, they will be

set to 500 ms.

If taps are greater than 1 second apart,

they will be ignored. Try again a bit faster.

O O

3. The LED will ﬂash in time with the new tap

delay time.

66. INTERNAL FX MUTE

When engaged, the internal effects processor is

muted, and its output will not appear on the main mix,

monitor mix...or anywhere for that matter. The adjacent

mute LED will come on as a reminder that the effects

are muted. When power is ﬁrst applied, these LEDs will

illuminate and the FX will be muted for about 10

seconds while the little FX gerbils inside settle down.

If this switch is not engaged, then the internal effects

are set free and may be added as required to the main

mix, monitor mix and last two stereo channels.

65. PRESET SELECTOR, TAP DELAY and LED

Rotate these endless controls to select one of the 24

preset effects. When the rotation stops, that preset will

be loaded and become operational. The current preset

number is shown in the display [64]. The different

presets are shown in the table below and on the

silkscreen in the upper right hand corner of the

VLZ3 4•Bus mixer. Further details of each preset are

explained in Appendix E on page 37.

67. SOLO LEVEL

This knob is used to adjust the volume of the soloed

signal as it is routed to the monitor [15, 16] and phones

[17] outputs. This control is independent of, and prior

to, the monitor [68] and phones [69] level controls.

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NOTE: The talkback destination switches

are latching switches, not momentary. In

other words, there is no need to hold down

68. MONITOR LEVEL

This knob is used to adjust the volume at the monitor

output [15, 16], from off to maximum gain (max).

the switch(es) when using the talkback feature. Simply

engage the switch(es) and begin talking. But don't

forget to disengage the switch when you're done talking

to them, or they may hear your unﬂattering remarks

regarding their choice of apparel.

69. PHONES LEVEL

This knob is used to adjust the volume at the phones

output [17], from off to maximum gain (max). If solo

is not active, the monitor, phones and meter are fed the

post-fader main mix signal.

NOTE #2: The talkback will not work unless

you have a microphone attached to the

talkback mic input [19].

WARNING: The headphone amp is loud, and

can cause permanent hearing damage. Even

intermediate levels may be painfully loud

72. COMPRESSOR

with some headphones. BE CAREFUL! Always turn this

control all the way down before connecting headphones,

or pressing a solo switch [41, 49, 53, 55, 73], or doing

anything new that may affect the headphone volume.

Then turn it up slowly as you listen carefully.

Each of the four groups in the VLZ3 4•Bus mixer has

an in-line compressor circuit with a variable

threshold. This is very useful for compression of vocals,

and snare drums, for example. See page 17 for an entire

page (and a graph even!) dedicated entirely to

explaining compression.

70. TALKBACK LEVEL

Use this knob to control the level of the talkback

signal being routed to the main mix or aux 1-4 outputs,

from the internal microphone.

73. GROUPS ASSIGN

One popular use of the groups is to use them as

master faders for a group of channels on their way to the

main mix [75]. Let us say you have a drum kit hogging

up seven channels and you are going to want to control

their group volume more conveniently. You do not want

to try that with seven hands or seven ﬁngers, so just

un-assign these channels from the main mix and

reassign them to groups 1-2, engage the assign to main

mix left on group 1 and assign to main mix right on

group 2. Now you may ride the entire drum mix with two

faders - groups 1 and 2.

1. Start with this control turned down.

2. Select the destination, either main mix and/or

aux 1-4 [71], and make sure that their levels

are already set nicely, using the main mix fader

[75] or aux masters [52].

3. Slowly turn this control up until you get

conﬁrmation from whoever is listening that

they can hear and obey your every command.

Once you have set the level, you can leave it there for

the duration of the session or gig.

If you engage just one assign to main mix button per

group (left or right), the signal sent to the main mix

[75] will be the same level as the group outs [11]. If

you want the subgroup to appear in the center of the

main mix, engage both the assign to main mix left and

right buttons. The signal will be sent to both sides, and

reduced in level by 3 dB like a pan pot, so the overall

level is the same, whether the group is assigned to main

left, main right, or both.

71. PUSH TO TALK: MAIN, AUX 1-4

Push in the main switch to route the talkback signal

to the main outputs. Use this to communicate with the

talent in the studio through the headphones during a

recording session.

The aux 1-4 switch routes the talkback signal to the

aux send 1-4 outputs [13]. Use this to communicate

with the musicians through their stage monitors when

you are setting up a live performance.

Each group may also be soloed. This does not mean

that each member of a group gets their shot at a solo

and stardom. Rather, this allows you to listen to the

group in isolation via monitor outputs or headphones.

Being an output, these signals are AFL.

It is ﬁne to have both destination switches pushed in

at the same time, so the talkback signal will be routed

to both destinations. But if you don’t have either of the

destination switches engaged, the talkback signal won’t

go anywhere. You might as well be talking to a brick

wall.

Groups 1-2 and 3-4 are paired together for purposes of

solo and work together differently in pﬂ and aﬂ modes.

In pﬂ mode, since pﬂ is a mono bus, soloing Group 1 by

itself, Group 2 by itself or both together will result in the

same level solo signal, monaurally (assuming Groups 1

and 2 have the same levels of signal).

26 VLZ3 4•Bus

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Aﬂ is a stereo solo bus, so in aﬂ mode, soloing Group 1

by itself places the signal on the left, Group 2 shows up

on the right, and soloing both yields a stereo image, with

Group 1 on the left and Group 2 on the right, and each

reduced by 3 dB, not unlike using one of the channels'

pan pots to center the signal. Groups 3 and 4 function

similarly.

75. MAIN MIX

This stereo fader allows you to adjust the levels of the

main mix signals sent to the XLR and 1/4" main

line-level outputs [7], and the tape outputs [6].

This gives you the ultimate feeling of power and

control over the sound levels sent to your audience.

Adjust this control carefully, with your good eye on the

meters to check against overloading, and your good

ear to the levels to make sure your audience (if any) is

happy.

Solo signals reaching the headphones and

monitor outputs are not affected by the

channel level or main level; therefore, turn

down the phones level [69] and monitor level [68] ﬁrst,

as soloed channels may be loud.

The main mix signals are off with the fader fully down,

the “U” marking is unity gain, and fully up provides 10

dB of additional gain. This additional gain will typically

never be needed, but once again, it’s nice to know that

it’s there. The fader is stereo, as it affects both the left

and right of the main mix equally. This is the ideal

control to slowly bring down at the end of a song (or

quickly in the middle of a song if the need ever arises).

The rude solo light [59] will turn on as a reminder

that what you are listening to in the headphones is just

the soloed group(s).

74. GROUP 1-4 FADERS

As you might expect, these faders control the levels

of the signals sent to the group outs [11]. All channels

that are assigned to groups, not muted, and not turned

fully down will appear at the group outs.

This control does not affect the aux outputs [13].

This does, however, conclude the main portion of the

owner's manual. From here on out it's all appendices.

You should pour yourself a cold, frosty one and pat

yourself on the back for making it here!

The group signal is off when its fader is fully down,

the "U" marking is unity gain, and fully up provides 10

dB additional gain. Remember that if you are treating

two groups as a stereo pair, group 1 and 2 for example,

make sure that both group faders "ride" together to

maintain the left/right balance.

Ok, congratulations are now over. Time to plug in your

VLZ3 4•Bus mixer, power it on, and start twiddlin' some

knobs!

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Appendix A: Service

Information

If you think your mixer has a problem, please check

out the following troubleshooting tips and do your best

to conﬁrm the problem. Visit the Support section of our

website (www.mackie.com) where you will ﬁnd lots of

useful information such as FAQs, documentation and

any updated PC drivers etc. You may ﬁnd the answer to

the problem without having to send your mixer away.

Noise

•

Turn the channel gains down, one by one. If the

sound disappears, it’s either that channel or

whatever is plugged into it, so unplug whatever

that is. If the noise disappears, it’s from your

whatever.

Power

Troubleshooting

•

The power LED should come on if the mixer is

connected to a suitable live AC mains outlet,

and the power switch is on. Check to make sure

that the power cord is securely plugged in.

Bad Channel

•

Is the channel EQ set up nicely?

Is the channel gain set correctly?

Is the channel level up enough?

Is the channel OL led on?

Repair

For warranty service, refer to the warranty

information on page 38.

Is the channel pan set in the middle?

Try the same source signal in another channel,

Non-warranty service for Mackie products is

available at a factory-authorized service center. To

locate your nearest service center, visit

set up exactly like the suspect channel.

•

Is phantom power required for your

www.mackie.com, click “Support” and select “Locate

a Service Center.” Service for Mackie products living

outside the United States can be obtained through local

dealers or distributors.

microphone?

Bad Output

•

Is the main level turned up?

If you do not have access to our website, you can call

our Tech Support department at 1-800-898-3211,

Monday-Friday during normal business hours, Paciﬁc

Time, to explain the problem. Tech Support will tell you

where the nearest factory-authorized service center is

located in your area.

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 one of

your external pieces has a problem.

•

Make sure that you are not overdriving your

ampliﬁers. Check the loudspeaker average load

impedance is not less than the minimum your

ampliﬁer can handle. Check the speaker wiring.

28 VLZ3 4•Bus

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Appendix B: Connections

“XLR” Connectors

•

Unbalanced Send/Return circuits. When wired

as send/return “Y” connector, a 1⁄4" TRS jack

or plug is connected tip to signal send (output

from mixer), ring to signal return (input back

into mixer), and sleeve to ground (earth).

Mackie mixers use 3-pin female “XLR” connectors on

all microphone inputs, with pin 1 wired to the grounded

(earthed) shield, pin 2 wired to the “high” (”hot” or

positive polarity) side of the audio signal and pin 3

wired to the “low” (“cold” or negative polarity) side of

the signal. See Figure A.

¹⁄4" TS Phone Plugs and Jacks

Use a male “XLR”-type connector, usually found on the

nether end of what is called a “mic cable,” to connect to

a female XLR jack.

“TS” stands for Tip-Sleeve, the two connections

available on a “mono” 1⁄4" phone jack or plug. See

Figure C.

SHIELD

HOT

SLEEVE

TIP

COLD

SHIELD

TIP

SLEEVE

COLD

HOT

SHIELD

COLD

HOT

Figure C: TS Plug

TS jacks and plugs are used in many different

applications, always unbalanced. The tip is connected to

the audio signal and the sleeve to ground (earth). Some

examples:

Figure A: XLR Connectors

¹⁄4" TRS Phone Plugs and Jacks

•

Unbalanced microphones

Electric guitars and electronic instruments

Unbalanced line-level connections

Speaker connections

“TRS” stands for Tip-Ring-Sleeve, the three

connections available on a “stereo” ¹⁄4" or “balanced”

phone jack or plug. See Figure B.

Don’t use guitar cords for speaker cables!

They’re not designed to handle speaker-level

signals and could overheat.

TRS jacks and plugs are used in several different

applications:

RING SLEEVE

TIP

SLEEVE RING TIP

RCA Plugs and Jacks

RING

TIP

RCA-type plugs (also known as phono plugs) and

jacks are often used in home stereo and video

equipment and in many other applications (Figure D).

They are unbalanced and electrically identical to a 1⁄4"

TS phone plug or jack. See Figure C. Connect the signal

to the center post and the ground (earth) or shield to

the surrounding “basket.”

SLEEVE

Figure B: ¹⁄4" TRS Plugs

•

Balanced mono circuits. When wired as a

balanced connector, a 1⁄4" TRS jack or plug

is connected tip to signal high (hot), ring to

signal low (cold), and sleeve to ground (earth).

SLEEVE TIP SLEEVE TIP

•

Stereo Headphones, and rarely, stereo

microphones and stereo line connections.

When wired for stereo, a 1⁄4" TRS jack or plug is

connected tip to left, ring to right and sleeve to

ground (earth). Mackie mixers do not directly

accept 1-plug-type stereo microphones. They

must be separated into a left cord and a right

cord, which are plugged into two mic preamps.

Figure D: RCA Plug

Figure E: Does not appear in this owner's manual, due

to a contractual obligation, but performs nightly at the

downtown Woodinville Cocoa Rooms and Tea Bar

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TRS Send/Receive Insert Jacks

Mackie’s single-jack inserts are the three-conductor,

TRS 1⁄4" phone type. They are unbalanced, but have

both the mixer output (send) and the mixer input

(return) signals in one connector. See Figure F.

SEND to processor

ring

“tip”

(TRS plug)

tip

sleeve

This plug connects to one of the

mixer’s Channel Insert jacks.

“ring”

RETURN from processor

Figure F

The sleeve is the common ground (earth) for both

signals. The send from the mixer to the external unit is

carried on the tip, and the return from the unit to the

mixer is on the ring.

Using the Send-only on an Insert Jack

If you insert a TS (mono) 1⁄4" plug only partially (to

the ﬁrst click) into a Mackie insert jack, the plug will

not activate the jack switch and will not open the insert

loop in the circuit (thereby allowing the channel signal

to continue on its merry way through the mixer).

This allows you to tap out the channel signal without

interrupting normal operation.

If you push the 1⁄4" TS plug in to the second click, you

will open the jack switch and create a direct out, which

does interrupt the signal in that channel. See Figure G.

NOTE: Do not overload or short-circuit the signal you

are tapping from the mixer. That will affect the internal

signal.

MONO PLUG

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.)

Figure G

30 VLZ3 4•Bus

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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

15 dB @ 400 Hz

15 dB @ 2.5 kHz

15 dB @ 12 kHz

150 ohm termination:

–129.0 dBu

Low-Mid:

High-Mid:

High:

(20 Hz–20 kHz bandwidth, 1/4" Main out, channel gains @

unity gain, channel EQs ﬂat, all channels assigned to Main Mix,

odd channels panned left, even channels panned right.)

Main Mix fader unity, channel faders down:

2404: –87.0 dBu (–91.0 dB Signal to Noise Ratio, ref +4 dBu)

3204: –84.5 dBu (–88.5 dB Signal to Noise Ratio, ref +4 dBu)

USB

Format:

USB 1.1

Main Mix fader unity, channel faders @ unity:

2404: –81.5 dBu

3204: –80.0 dBu

I/O:

Stereo Input, 4 Channel

Output

A/D/A:

24 bit, 44.1 kHz / 48 kHz

Frequency Response:

(Mic input to any output.)

Input and Output Impedance:

Mic in:

2.7 kΩ

20 Hz to 50 kHz:

20 Hz to 100 kHz:

+0 dB / –1 dB

+0 dB / –3 dB

Channel Insert return:

All other inputs:

Tape out:

2.5 kΩ

10 kΩ or greater

<10 Ω

Distortion (THD+N):

(1 kHz 15 dB gain, 20 Hz–20 kHz bandwidth)

All other outputs:

120 Ω

Mic in to insert send:

<0.001%

<0.005%

AC Power Requirements:

Power Consumption:

Mic in to Main Out:

55 watts (2404-VLZ3)

65 watts (3204-VLZ3)

Attenuation and Crosstalk:

(1 kHz relative to +10 dBu, 20 Hz–20 kHz bandwidth,

Mic in, 1⁄4" Main Out, Gain @ unity.)

Universal AC Power Supply:

100 VAC – 240 VAC,

50-60 Hz

Channel Mute switch engaged:

Channel Fader down:

–90 dBu

–88 dBu

Physical Dimensions and Weight

Front Height:

Rear Height:

1.8 in / 46.3 mm (both)

6.0 in / 153 mm (both)

Depth:

Width:

19.1 in / 486 mm (both)

Common Mode Rejection Ratio (CMRR):

(Mic in to Insert Send out, max gain.)

29.4 in / 748 mm (2404-VLZ3)

38.0 in / 964 mm (3204-VLZ3)

1 kHz:

better than –70 dB

Weight:

31 lb. / 14.1 kg (2404-VLZ3)

39 lb. / 17.7 kg (3204-VLZ3)

Maximum Input and Output Levels:

Mic in:

+21 dBu

+27 dBu

+21 dBu

LOUD Technologies Inc. is always striving to improve our products

by incorporating new and improved materials, components, and

manufacturing methods. Therefore, we reserve the right to change

these speciﬁcations at any time without notice.

All other inputs:

Main Mix XLR out:

All other outputs:

“Mackie,” and the “Running Man” are registered trademarks of LOUD

Technologies Inc. All other brand names mentioned are trademarks

or registered trademarks of their respective holders, and are hereby

acknowledged.

3-Band Equalization (mono channels)

Low:

15 dB @ 80 Hz

Mid:

15 dB sweep

100 Hz–8 kHz

Please check our website for any updates to this manual:

www.mackie.com.

High:

15 dB @ 12 kHz

Low Cut Filter:

18 dB/octave,

–3 dB @ 100 Hz

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Dimensions

WEIGHT

39.0 lb

17.7 kg

PHONES

MONITOR

GROUP INSERTS

31/32

29/30

GROUP OUTS

MONITOR

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

AUX INSERTS

STEREO RETURNS

MIC 28

MIC 27

MIC 26

MIC 25

MIC 24

MIC 23

MIC 22

MIC 21

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC

AUX SENDS

TALKBACK

MIC

TAPE

RIGHT

LINE

LEFT

LINE

MONO

LINE

100-240VAC

POWER

PHANTOM

MAIN OUT

OUT

50/60Hz 100W

USB

3204

INSERT

OUTPUT

AVIS: RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR

LEVEL

6.0 in / 153 mm

29/30

GAIN

31/32

GAIN

50%

25%

75%

3204

100%

SUCK

+15dB -45dB

2-TRACK RETURN

USB OUT

CH 3-4

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

CH 1-2

18dB/OCT

+20

MAIN

MIX

PAD

USB

TO MAIN

-20dB

AUX MASTERS

STEREO RETURNS

AUX

LEFT RIGHT

OFF

COMP

MAX

OFF

COMP

MAX

OFF

COMP

MAX

OFF MAX

COMP

AUX

+15

AUX

+15

AUX

+15

AUX

+15

dB=0 dBu

MAIN

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

RUDE SOLO

+15

SOLO MODE

+15

FX2

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

AUX 5/6

MAX

SEND MASTER

MAX

SOLO

AUX 5/6

TO AUX

SEND MASTER

TO AUX

12k

MAX

TO AUX

MAX

TO AUX

MAX

MONITOR

-15 +15

MID

2.5k

MID

2.5k

-15 +15

FREQ

MAX

TO MAIN

MAX

LOW

MID

LOW

MID

TO MAIN

PHONES

400Hz

GROUPS

TALKBACK

100

-15 +15

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

COMP

LEVEL

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

BAL

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

STEREO

BAL

PUSH

TO TALK

SOLO

LEFT

SOLO

LEFT

SOLO

LEFT

SOLO

LEFT

AUX 1-4

MUTE

29/30

MUTE

31/32

MUTE

MAIN

RIGHT

MAIN MIX

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

3-4

L/R

38.0 in / 964 mm

1.8 in / 46.3 mm

WEIGHT

31.0 lb

14.1 kg

PHONES

MONITOR

GROUP INSERTS

23/24

21/22

GROUP OUTS

MONITOR

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

INSERT

LINE IN

AUX INSERTS

STEREO RETURNS

MIC 20

MIC 19

MIC 18

MIC 17

MIC 16

MIC 15

MIC 14

MIC 13

MIC 12

MIC 11

MIC 10

MIC

AUX SENDS

TALKBACK

MIC

TAPE

RIGHT

LINE

LEFT

LINE

MONO

LINE

POWER

PHANTOM

MAIN OUT

OUT

WARNING:

USB

2404

INSERT

OUTPUT

AVIS: RISQUE DE CHOC ELECTRIQUE

—

NE PAS OUVRIR

LEVEL

6.0 in / 153 mm

21/22

23/24

GAIN

50%

25%

75%

2404

100%

SUCK

+15dB -45dB

2-TRACK RETURN

USB OUT

CH 3-4

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

CH 1-2

18dB/OCT

+20

MAIN

MIX

PAD

USB

TO MAIN

-20dB

AUX MASTERS

STEREO RETURNS

AUX

LEFT RIGHT

OFF

COMP

MAX

OFF

COMP

MAX

OFF

COMP

MAX

OFF MAX

COMP

AUX

+15

AUX

+15

AUX

+15

AUX

+15

dB=0 dBu

MAIN

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

+15

PRE

RUDE SOLO

+15

SOLO MODE

+15

FX2

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

+15

INT FX

AUX 5/6

MAX

SEND MASTER

MAX

SOLO

AUX 5/6

TO AUX

SEND MASTER

TO AUX

12k

-15 +15

MAX

TO AUX

MAX

TO AUX

MAX

MONITOR

MID

2.5k

MID

2.5k

-15 +15

FREQ

MAX

TO MAIN

MAX

LOW

MID

LOW

MID

TO MAIN

PHONES

400Hz

GROUPS

TALKBACK

100

-15 +15

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

COMP

LEVEL

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

PAN

-15 +15

STEREO

BAL

PUSH

TO TALK

SOLO

LEFT

SOLO

LEFT

SOLO

LEFT

SOLO

LEFT

AUX 1-4

MUTE

21/22

MUTE

23/24

MUTE

MAIN

RIGHT

MAIN MIX

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

3-4

L/R

29.4 in / 748 mm

1.8 in / 46.3 mm

32 VLZ3 4•Bus

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Block Diagram

Main

ain

Sub

Aux 1

Aux 2

Aux 3

Aux 4

Aux 5

Aux 6

FX1

Aux 1 (pre)

Aux 2 (pre)

Aux 3 (pre/post)

Aux 4 (pre/post)

Aux 5 (post)

Aux 6 (post)

FX 1

FX 2

PFL solo

PFL Solo

AFL solo

Owner's Manual 33

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Track Sheet - Mono Channels

GAIN

+15dB -45dB

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

18dB/OCT

PAD

-20dB

AUX

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

FX1

O O +15

FX2

O O +15

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

12k

-15 +15

MID

-15 +15

800

-15 +15

800

-15 +15

800

-15 +15

800

-15 +15

800

-15 +15

800

-15 +15

800

-15 +15

800

FREQ

200

100

200

100

200

100

200

100

200

100

200

100

200

100

200

100

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

-15 +15

PAN

MUTE

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

3-4

L/R

O O

34 VLZ3 4•Bus

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Track Sheet - Comp & Stereo Channels and Master Section

XX/XX

GAIN

50%

25%

75%

XX04

12V

0.5A

100%

-20 +20

FX 1

-20 +20

FX 2

SUCK

+15dB -45dB

2-TRACK RETURN

USB OUT

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

LOW CUT

100 Hz

CH 1-2

CH 3-4

48V

PWR

18dB/OCT

SOLO

TAPE

USB

GRP 1-2

MAIN L/R

GRP 3-4

AUX 5-6

O O +20

MAIN

MIX

USB

TO MAIN

AUX MASTERS

STEREO RETURNS

LEFT RIGHT

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

AUX

COMP

AUX

SOLO

PRE

O O +15

AUX

O O +15

SOLO

PRE

O O +15

AUX

O O +15

SOLO

O O +15

LEVEL

SET

AUX

O O +15

SOLO

O O +15

0 dB=0 dBu

MAIN

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

O O +15

PRE

RUDE SOLO

SOLO

O O +15

SOLO MODE

FX1

SOLO

PFL

AFL

SOLO

O O +15

FX 1

FX2

SIG/OL

O O +15

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

INT FX

AUX 5/6

O O MAX

SOLO

O O MAX

AUX 5/6

SEND MASTER

TO AUX 1

SEND MASTER

TO AUX 1

12k

TAP

DELAY

TAP

DELAY

O O MAX

MONITOR

O O MAX

-15 +15

TO AUX 2

MID

2.5k

MID

2.5k

INT FX

MUTE

INT FX

MUTE

-15 +15

800

-15 +15

800

-15 +15

800

-15 +15

800

-15 +15

O O MAX

TO MAIN

O O MAX

TO MAIN

O O MAX

PHONES

FREQ

LOW

MID

LOW

MID

200

100

200

100

200

100

200

100

400Hz

GROUPS

TALKBACK

-15 +15

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

LOW

80Hz

O O MAX

LEVEL

OFF

MAX

OFF

MAX

OFF

MAX

OFF

MAX

COMP

-15 +15

STEREO

PAN

BAL

PUSH

TO TALK

SOLO

LEFT

SOLO

LEFT

SOLO

LEFT

SOLO

LEFT

AUX 1-4

XX/XX

MUTE

MAIN

RIGHT

MAIN MIX

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

SIG

SOLO

1-2

3-4

L/R

O O

Owner's Manual 35

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Appendix D: USB and you... sb

The built-in USB interface allows for some power-

ful and ﬂexible routing. It is a 4x2 interface allowing

you to record up to four streams from the mixer, or to

input stereo playback from a computer and route it to

nearly any output or pair of outputs on the mixer. To

use this feature with a PC, ﬁrst download the PC ASIO

driver from www.mackie.com. If connecting to a Mac,

the mixer will show up as a 4x2 device with no driver

required.

USB output FROM the mixer - recording, etc:

(1) A variety of different signals may be recorded

via the USB output section, depending on the setup. In

the 'USB OUT' section, the switch on the left [51] will

select either Groups 1-2 or the main mix to feed USB

output channels 1-2. The second switch (to the right)

will select either Groups 3-4 or Aux 5-6 to feed USB

output channels 3-4.

For example, with both USB ouput switches in the

default position (up), true 4-track recording may be

accomplished via routing to subgroups 1-4. The USB tap

points for the subgroups are pre-fader (also pre-insert)

and post-compressor. The signals will show up on the

DAW dependent upon how they are panned on the

channels.

The USB routing capabilities are as follows:

USB input TO the mixer - playback:

(1) Stereo channel 23/24 (on the 2404-VLZ3) and

31/32 (on the 3204-VLZ3) features a USB button, so one

may route computer output (such as iTunes^®) down the

last stereo channel of the board. This stereo signal may

then be EQ'd, sent to auxiliaries (i.e. to feed monitors,

headphones or effects) and is routable to mains and/or

subgroups via the fader routing features that are

In other words, if subgroups 1 and 2 are used to sub-

mix drums and those drums have a stereo image

(e.g. overheads and toms pan according to desire), this

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.

Additionally, the gain knob at the top of this channel

subgroup 1 is set to "L" and subgroup 2 is set to "R").

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

settings made on the mixer will apply to the recording.

(2) The 2-Track Return section features a "ﬂip"

switch, so a "Tape" source (connected via RCA cables,

such as an iPod^®) or the USB signal from a computer

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

solo button and input level adjustment for fading house

music up and down between bands, at a house of

worship, or any other event where this may be

necessary.

pre-main fader. Therefore, levels may be mixed up or

down in the DAW later depending on the needs of the

recording versus the live show. The end result is that

fade-ins and/or fade-outs made during the show do not

affect recorded levels.

And ﬁnally, it is possible to route the aux 5-6 (again,

pre-fader) mixer signals into a DAW or plug-in host.

From there, re-route the output of the DAW (or plug-in

host) back into the mixer. 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.mackie.com to conﬁrm

that the latest device drivers are currently in use.

36 VLZ3 4•Bus

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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

03 Warm Room

04 Bright Room

05 Warm Lounge

06 Small Stage

07 Warm Theater

08 Bright Stage

09 Warm Hall

This vintage plate emulation is warmer than your

standard plate, with a long reverberant tail, lots of fast

reﬂections and a very short pre-delay.

Particularly suited for vocal signals, but can also

be used for extra-thick drum tracks.

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,

wood paneled room.

ambient effect to vocals and acoustic instruments.

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.

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.

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.

This reverb has a warm bodied tone and medium long

reverb time to simulate the live acoustics of a theater

space.

Perfect for vocals, drums, acoustic and electric

guitars, keyboards, and more.

This preset emulates the sound of a large performance

stage, characterized by medium long reverb time and

pre-delay, plus a touch of sizzle.

Great for adding life and dimension to drums and

other acoustic instruments, and for that big live

vocal sound.

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

sound, long pre-delay, and vibrant tone.

Adds life to acoustic instruments and vocals from

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

13 Chorus

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.

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

15 Doubler

This preset perfectly combines the chorus effect above

with a large, roomy reverb.

This lets you both thicken your sound with the

chorus effect while adding warmth and spacious-

ness thanks to the smooth reverb.

This effect simulates the sound of a vocal or instrument

being recorded twice (double tracked) on a multi-track

recorder.

Provides a vibe that is similar to chorus without

the subtle swirl.

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)

18 DLY 1 Warm (300ms)

19 DLY 2 Bright (250ms)

20 DLY 2 Warm (200ms)

21 DLY 3 Bright (175ms)

22 DLY 3 Warm (150ms)

These 6 delay presets provide one (delay 1), three (delay These work best with full, up-beat music like rock

2), or six (delay 3) repeats of the original signal. The

default delay time for each preset is shown in mS - the

smaller the time, the faster the delay. Delay times can

easily be customized to suit the moment by tapping the

knob [63] more than once.

where the delay needs to cut through the mix.

Warm delays get progressively softer and warmer

in tone with each repetition and work great with

slow, mellow music. Bright delays have repeats

that are consistent in tone with the original sound.

23 Chorus + DLY (300ms)

This effect combines the thickening effect of the chorus

with the echoes of the 3-repeat delay effect.

Delay times can easily be customized to suit the moment

by using the Tap feature.

Useful on a clean electric guitar that needs a

mildly swirling, ethereal tone.

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.

Owner's Manual 37

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VLZ3 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.mackie.com/warranty 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.mackie.com/support or by calling LOUD technical support at 1.800.898.3211

(toll-free in the U.S. and Canada) during normal business hours Paciﬁc Time, excluding weekends or

LOUD holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will

need it to obtain any warranty service.

For full terms and conditions, as well as the speciﬁc duration of the Warranty for this product, please visit

www.mackie.com/warranty.

The Product Warranty, together with your invoice or receipt, and the terms and conditions located

at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior

agreements between LOUD and Customer related to the subject matter hereof. No amendment,

modiﬁcation or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a

written instrument signed by the party to be bound thereby.

Need help with your new mixer?

• Visit www.mackie.com and click Support to ﬁnd: FAQs, manuals, addendums, and other useful information.

• Email us at: [email protected].

• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps (Monday through Friday,

normal business hours, PST).

38 VLZ3 4•Bus

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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA

United States and Canada: 800.898.3211

Europe, Asia, Central and South America: 425.487.4333

Middle East and Africa: 31.20.654.4000

Fax: 425.487.4337 • www.mackie.com

E-mail: [email protected]

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