1604VLZ4
16-Channel 4-Bus Compact Mixer
O W N E R ’ S M A N U A L
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Contents
DIMENSIONS.................................................. 31
TRACK SHEET.................................................. 32
BLOCK DIAGRAM............................................ 34
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Owner’s Manual
Part No. SW0972 Rev. A 06/13
©2013 LOUD Technologies Inc.
All Rights Reserved.
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Features
Introduction
•
•
16-channel mixer featuring our signature
high-headroom, low-noise design
A legend in compact mixer design, the 1604VLZ4
now combines the proven performance of Onyx preamps
with the no-compromise high-headroom/low-noise
design that made the 1604 an industry mainstay.
16 boutique-quality Onyx mic preamps
• Ultra-wide 60 dB gain range
• 128.5 dB dynamic range
All 16 channels feature an Onyx mic pre, line
input and insert in a compact 4-bus design built
for application flexibility and professional performance.
Plus, it is truly “Built-Like-A-Tank” with a ridiculously
rugged solid-steel chasis that includes high-contrast
controls for ultimate tactile control.
• +22 dBu line input handling
• Extended frequency response
• Distortion under 0.0007% (20 Hz - 50 kHz)
•
Improved RF rejection, perfect for broadcast
applications
•
•
Phantom power for condenser mics
Found in countless professional broadcast and post
facilities and easily the most proven band-friendly
analog mixer ever, the 1604 stands alone in the world
of compact mixing.
16 high-headroom line inputs with
+4/–10 operation control
•
16 balanced inserts perfect for integrating
outboard gear
How To Use This Manual
•
•
3-band EQ with sweepable midrange
18 dB/oct 75 Hz low-cut filter on mic input
channels
After the introduction, a getting started guide will
help you get things set up fast. These are followed by
hookup diagrams which show some typical setups.
•
•
Four aux sends, level, pan and solo and
overload/mute LEDs on each channel
Next is a detailed tour of the entire mixer.
The descriptions are divided into sections, just
as your mixer is organized into distinct zones:
Four stereo returns, eight direct outs
and four group/bus outputs
•
•
60 mm long-wearing log-taper faders
•
•
•
Patchbay
Control room / phones multi-input source
matrix
Channel Strip
Output Section
•
•
•
High-resolution 12-segment stereo meters
Sealed rotary control resist dust and grime
Throughout these sections you’ll find illustrations
with each feature numbered and described in nearby
paragraphs.
“Built-Like-A-Tank” rugged steel chassis with
powder-coat finish
This icon marks information that is critically
important or unique to the mixer. For your own
good, read them and remember them.
•
•
High-visibility, high-contrast controls deliver
convenient “at-a-glance” visual feedback
Rack-mountable design with three physical
configurations via Rotopod accessory
(sold separately)
This icon will lead you to some explanations
of features and practical tips. They usually
have some valuable nuggets of information.
•
Multi-voltage power supply for worldwide use
Need help with your mixer?
• Telephone 1-800-898-3211 to speak with one of our splendid technical support chaps
(Monday through Friday, normal business hours, Pacific Time).
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Set the levels
Getting Started
It’s not even necessary to hear what you’re doing to
set optimal levels. But if you’d like to: Plug headphones
into the phones output jack, then turn up the
CR/phones knob just a little.
We realize that you must be really keen to try out
the mixer. Please read the safety instructions on page
2, then have a look through some of the features and
details in this manual.
1. Turn on the mixer by pressing the top edge of
the power switch.
Setup
2. For one channel, press the solo switch in.
Use the mixer in a nice clean and dry environment,
free from dryer lint and dust bunnies.
3. Engage the mode switch in the master
section. A green level set light will turn on.
4. Play something into that input at real-world
Zero the controls
levels.
5. Adjust that channel's gain control until the
left main meter stays around the 0 dB LED
(marked “level set”) and never goes higher
than “+7.”
1. Fully turn down all the knobs and faders
to minimum, except for the channel EQ
and pan controls, which should be centered.
2. Make sure all buttons are in the out position.
6. Disengage the channel's solo switch.
7. Repeat steps 2 to 6 for the remaining channels.
8. Turn up the channel fader to the “U” mark.
Connections
1. Make sure the AC power switch is off before
making any connections.
9. Slowly turn up the main mix fader until you
hear the signals in the headphones.
WARNING: Before plugging the AC power
cord into the mixer, make sure the VOLTAGE
SELECTOR switch is set to the same voltage
as the local AC mains supply (see page 13).
10. If needed, apply some channel EQ wisely.
11. Adjust the channel faders 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 may accept any
AC voltage ranging from 100 VAC to 240 VAC.
12. 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.
Things to Remember
•
Never listen to loud music for prolonged
periods. Please see the Safety Instructions on
page 2 for information on hearing protection.
4. If your microphone requires phantom power,
turn on the 48V phantom power button.
•
Always turn down the main mix fader and
control room/phones knob down when making
connections to the mixer. Better yet, turn off
the power.
5. All 16 channels have insert jacks that can be
used to connect an external effects or dynamics
processor into the signal chain.
•
•
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.
6. Connect the TRS 1/4" main outputs of the
mixer to the line level inputs of your amplifier
(with speakers already attached) or to the line
level inputs of powered speakers.
Save the shipping box!
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Hookup Diagrams
Synth
Headphones
Vocal
mics
Vocal
mics
Drum microphones
Stereo Guitar Effects
Stereo Guitar Effects
Headphone amp
(Connected to the
phones jack on the
front of the mixer)
Stereo Compressor
Stereo Compressor
Stereo Compressor
and Stereo EQ
Multi-track
Digital Recorder
Stereo Tape Deck
Digital Reverb
Digital Delay
MR8mk3
Laptop
studio monitors
The rhythm and lead guitars play through stereo effects processors plugged into the line inputs of
channels 1 and 2. Microphones are connected to the mic inputs of channels 3-14 with vocal compressors
connected to the channel 3-4 and 13-14 insert jacks. [Drums are mic'd on channels 5-12]. A bass guitar
is connected to the line input of channel 15, while a synth is connected to the line input of channel 16.
A stereo compressor and stereo graphic EQ are connected to the L/R main inserts. Digital reverb and
delay processors are connected to aux sends 1 and 3, with the aux sends set to post-level. Effects are
added to the main mix via the stereo return inputs, and adjusted with the stereo return level control.
There are a multitude of recording possibilities geared for both analog purists and digital hounds.
There are three examples listed here, but feel free to experiment! (1) the RCA tape inputs and outputs are
connected to a stereo tape deck. It's an easy way to get a stereo recording of the entire band, as well as
listening to playback (over tape), (2) the eight direct outputs are connected to the eight inputs of a multi-
track digital recorder, and (3) the four subgroup outs are connected to the laptop. Again, there are many
choices for recording. Do what works for you and your setup!
A pair of MR8mk3 studio monitors are connected to the control room outputs to listen to playback of
your latest masterpiece.
Recording System
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Synth
Vocal
mics
Vocal
mics
Drum microphones
Headphones
(Connected to the
phones jack on the
front of the mixer)
Stereo Guitar Effects
Stereo Guitar Effects
Stereo Compressor
DLM8 loudspeakers
Stereo Compressor
DLM8 Stage Monitors
Digital Reverb
Digital Delay
Laptop
Stereo Compresor
and Stereo EQ
Stereo EQ
DLM12S subwoofers
The rhythm and lead guitars play through stereo effects processors plugged into the line inputs of
channels 1 and 2. Microphones are connected to the mic inputs of channels 3-14 with vocal compressors
connected to the channel 3-4 and 13-14 insert jacks. [Drums are mic'd on channels 5-12]. A bass guitar
is connected to the line input of channel 15, while a synth is connected to the line input of channel 16.
A stereo compressor and stereo graphic EQ are connected to the L/R main inserts. The 1/4" L/R main
outs connect to a stereo graphic EQ before connecting to a pair of DLM12S powered subwoofers which
are connected to a pair of DLM8 powered loudspeakers to please your audience.
Aux sends 1 and 2 are connected to DLM8 powered loudspeakers, used as stage monitors to please
the band. Digital reverb and delay processors are connected to aux sends 3 and 4, with the aux sends
set to post-level. Effects are added to the main mix via the stereo return inputs, and adjusted with the
stereo return level control.
The RCA tape inputs and outputs are connected to a laptop. It's an easy way to get a stereo recording
of the live show for posterity and crank your featured playlist over the PA between bands.
Live Stereo PA System
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Converting To Rackmount Mode
Not only is the 1604VLZ4 a compact, professional-
quality tabletop mixer...it’s rack-mountable!
7. Carefully install the pod-mounting screws in
their new locations [d].
The unique rotating input pod makes this possible.
8. Install the rack ears that came with the mixer,
using the supplied packet of screws. These
screws are a bit longer than the ones you have
to take out. The rack ears may be installed in
either of two depths as shown at the bottom
of this page: [e] mixer’s surface flush with the
rack rails, like ordinary rackmount equipment,
or [f] mixer’s surface sunken into the rack, to
protect the knobs from being bumped.
With a trusty phillips screwdriver, nerves of steel, grit,
determination, charming good looks and a few moments
of your valuable time, it may be converted from desktop
mode (from the factory) to rackmount mode:
1. Turn off the power and remove ALL the cords
from the mixer — power cord, audio, lamps,
everything.
2. Place the mixer, face down, on a clean soft
surface, like a blanket or very large dog.
NOTE: If you remove the rack ears at a later date,
use the original (shorter) screws to secure the
sides.
3. Remove the four screws securing the cable
cover [a] and set the plate aside.
An optional accessory called the Rotopod-VLZ is
available and may be used in desktop or rackmount
installations. It will put the patchbay jacks on the
same plane as all the knobs, buttons and faders.
This is a lifesaver in applications that demand frequent
repatching, and costs a heck of a lot less than an
external patchbay, not to mention all the interface
and patch cords. Please visit your dealer for more
exciting details. Be sure to order the “VLZ4” version
so you don’t end up with the one for the classic CR-1604!
4. Replace two of the screws; the ones at the pod
end of the mixer [b].
5. Remove two pod-mounting screws on each side
of the mixer [c].
6. Gently pull the pod away from the slots, rotate
it, and place it, tabs first, into the rackmount
tabs [d], located on the underside of the main
chassis. Be careful not to constrict or pinch any
of the ribbon or power cables.
remove
screws
replace
screws
remove
plate
rackmount
tab slots
rotate
pod
remove
screws
replace
screws
use the longer screws
that come in a little bag
use the longer screws
that come in a little bag
sunken
position
flush mount
8
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Patchbay Description
1
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level instruments
and effects, headphones, and the ultimate destination
for your sound: PA system, DAW, etc. A few of the
features described in this section are on top of the
mixer, but most are out back on this “pod.”
The XLR inputs are wired as follows:
Pin 1 = Shield or ground
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
Professional ribbon, dynamic, and condenser mics all
sound excellent through these inputs. The mic/line
inputs will handle any kind of level you can toss at
them, without overloading.
See Appendix B (page 27) for further details and
some rather lovely drawings of the connectors you
can use with the 1604VLZ4.
Not every instrument is made to connect directly to
a mixer. Guitars commonly need a Direct Injection (DI)
box to connect to the mixer's mic inputs. These boxes
convert unbalanced line-level signals from your guitar,
into balanced mic-level outputs, and provide signal and
impedance matching. They also let you send your gifted
guitar renditions over long cables or audio snakes,
with minimum interference or high-frequency signal
loss. Ask your dealer or guitar maker about their
recommendations for a good DI box.
EZ Interface
Concerned about levels, balancing, impedances,
polarity, or other interface goblins? You can patch
anything almost anywhere on the 1604VLZ4, with
nary a care. Here’s why:
•
Every input and output is balanced (except
insert, phones and RCA jacks).
•
Every input and output will also accept
unbalanced lines (except XLR jacks when
phantom power is on).
Phantom Power
Most modern professional condenser mics are
equipped for phantom power, which lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics often have batteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
be “unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need external power and aren’t
affected by it anyway.
•
•
•
•
Every input is designed to accept virtually any
output impedance.
The main left and right mix outputs can deliver
28 dBu into as low as a 600 ohm load.
All the other outputs can deliver 22 dBu into
as low as a 600 ohm load.
All the outputs are in phase with the inputs.
All we ask is that you perform the level setting
procedure [page 5] every time you patch in a new
sound source. So stop worrying and start mixing!
The 1604VLZ4’s phantom power is globally controlled
by the phantom [22] switch on the rear panel.
(This means the phantom power for all channels
is turned on and off together.)
1. Mic Ins
Never plug single-ended (unbalanced)
microphones, or ribbon mics into the mic
input jacks if the phantom power is on.
This is a female XLR connector that accepts a
balanced mic or line level input from almost any type
of source. These Onyx mic preamps feature higher
fidelity and headroom rivaling any standalone mic
preamp on the market today. These circuits are
excellent at rejecting hum and noise.
Do not plug instrument outputs into the
mic input jacks with phantom power on
unless you know for certain it is safe to do so.
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6
5
4
2
2. Line Ins
4. Insert
These 1/4" jacks share circuitry (but not phantom
power) with the mic preamps, and can be driven by
balanced or unbalanced sources at almost any level.
You can use these inputs for virtually any signal you’ll
come across, from instrument levels as low as –50 dBu,
to operating levels of –10 dBV to +4 dBu, since there
is –15 to +45 dB of gain (60 dB range) available for
line inputs via the gain [3] knob. Always make sure
to perform the level setting procedure on page 5.
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
[3] control, but before the channel’s EQ [32], low cut
[33], fader [25] and mute [30] controls. Insert cables
must be wired thusly:
Tip = send (output to effects device)
Ring = return (input from effects device)
Sleeve = common ground
To connect balanced lines to these inputs, use
a 1⁄4" Tip-Ring-Sleeve (TRS) plug, wired as follows:
Tip = Positive (+ or hot)
SEND to processor
ring
tip
(TRS plug)
tip
sleeve
Ring = Negative (– or cold)
Sleeve = Shield or ground
This plug connects to one of the
mixer’s Channel Insert jacks.
ring
RETURN from processor
To connect unbalanced lines to these inputs,
use a 1⁄4" mono (TS) phone plug, wired as follows:
Tip = Positive (+ or hot)
Even though channels 1–8 already have direct out [5]
jacks , insert jacks can also be used as channel direct
outputs; post-gain, pre-low cut, and pre-EQ. See the
connector section on page 29 showing three ways to use
insert cables.
Sleeve = Shield or ground
3. Gain
3
5. Direct Out
Yes it’s true, these controls are not in the patchbay
section at all. They’re found along the top row of
knobs in the channel strip section. But their purpose
is so closely linked with the mic and line input jacks
Found only on channels 1–8, these balanced 1/4"
jacks deliver the signal from the very end of the channel
path; post-gain [3], post-EQ [32], post-low cut [33],
that we couldn’t bear to separate them. If you haven’t post-fader [25], and post-mute [30]. They are the key
already, please read the level-setting procedure on
page 5.
player in “split monitoring,” making the 1604VLZ4
perfect for an 8-track studio.
Gain adjusts the input sensitivity of the
mic and line inputs. This allows signals
from the outside world to be adjusted to
optimal internal operating levels.
Split Monitoring
With split monitoring, you use the first eight
channels for your sound sources: vocal mics,
drum mics, keyboard/synth outputs, guitar
If the signal originates through the XLR jack, there
will be 0 dB of gain with the knob fully down, ramping
to 60 dB of gain fully up.
effects outputs, that sort of thing. From there, the
channels manipulate the sound, but are not assigned to
the output section. Instead, they’re patched from the
channel’s direct out [5] jacks to the corresponding
multitrack input (direct out 1 to multitrack input 1, 2 to
2, 3 to 3, etc.). The signals will now be recorded or pass
directly through the multitrack, depending on each
track’s record-ready status.
Through the 1⁄4" input, there is 20 dB of attenuation
fully down and 40 dB of gain fully up, with a “U” (unity
gain) mark at 10:00. This 20 dB of attenuation can be
very handy when you are inserting a very hot signal, or
when you want to add a lot of EQ gain, or both. Without
this “virtual pad,” this scenario might lead to channel
clipping.
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The point is that you never listen directly to the
source channels (1–8). You listen to the monitor chan-
nels (9–16) and they’re listening to the multitrack that
is listening to the source channels. (Make sure to assign
the monitor channels 9-16 to the L/R mix, and not the
source channels 1-8.) The main advantage is that you
won’t be forced to constantly repatch your multitrack —
just set it up and forget it. You’ll also know for certain
that the signals are indeed getting to the multitrack,
since you’re constantly listening to it.
multitrack
machine
sound sources
Another method of interfacing a multitrack is called
inline monitoring, and requires a dedicated mixing
console. Each of its channels is actually two channels:
one carrying the mic/line sound source and the other
carrying the multitrack output.
1–8
9–16
6. Aux Sends
These 1/4" jacks usually patch to the inputs of
a parallel effects devices or to the inputs of stage
monitor amps. For details see “Aux Talk” on page 23.
direct
outputs
group
outputs
Effects: Serial Or Parallel?
You’ve heard us carelessly toss around the terms
“serial” and “parallel.” Here’s what we mean by them:
The outputs of the multitrack are then patched
to the next eight line [2] inputs on the 1604VLZ4
(multitrack out 1 to line input 9, 2 to 10, 3 to 11, etc.).
These channels (9–16) will be assigned to the mixer’s
output section, delivering the signals to their ultimate
destination, which may be your mixdown 2-track, your
control room system, or your headphones.
“Serial” means that the entire signal leaves the mixer
[insert (4) send], is routed through the effects device,
and returns to the mixer [insert return]. Examples:
compressor/limiters, graphic equalizers.
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But let’s not forget that the 1604VLZ4 is a 4-bus
mixer. These buses lead to the sub outs [8], and are
designed to accomplish the task of getting channels
to the multitrack without using the direct outputs.
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((ee..gg..,,CCoommpprreessssoorr))
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“Parallel” means that a portion of the signal in the
mixer is tapped off to the device (aux send), processed
and returned to the mixer (stereo return) to be mixed
with the original “dry” signal. This way, multiple
channels can all make use of the same effects device.
Examples: reverb, digital delay.
For example, a channel is assigned to sub out 1.
Sub out 1’s output is patched to multitrack input 1.
From there, the multitrack output goes to the mixer’s
channel 9 line input, as we just discussed. (Hot tip:
To feed an 8-track deck with 4 sub outputs, simply use
Y-cords: sub out 1 feeds tracks 1 and 5, 2 feeds 2 and 6,
3 feeds 3 and 7, and 4 feeds 4 and 8. Tracks in record
mode will accept the signal, and tracks in safe mode
will ignore the signal.)
Aux
Aux
Output
Section
Send
Return
Signal Processor
(e.g., Reverb)
Wet Signal
Mix
Processed
Signal
The advantages: You can assign any channel to any
track, without repatching. You can assign multiple chan-
nels to one track and control the overall level of that
subgroup. You can’t bounce tracks without this feature.
Stage
Channel Path
Dry Signal(s)
Dry Signal(s)
Perhaps the best method is to do both: Use the sub
outs to feed multichannel submixes (like a drum kit)
to some of the tracks, and the direct out jacks to feed
single-channel signals (like bass guitar) to the other
tracks.
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18
14
13 12 11 9
8
7
15
16
19
7. Stereo Returns
9. C-R Outs (Control Room Outputs)
This is where to connect the outputs of parallel
These 1/4" jacks are usually patched to the inputs of
a control room amplifier or a headphone distribution
amplifier. To learn how signals are routed to these
outputs, see ctl room/phones [43] on page 20.
effects devices (or extra audio sources). They’ll accept
just about any pro or semipro effects device on the
market. To learn how signals are routed from these
inputs, see stereo return level [51] on page 23.
10
10. Phones Out (On Front Panel)
The 1604VLZ4’s stereo 1/4" phones
jack will drive any standard
Mono: If you have an effects device with a mono
output (one cord), plug that into the left input of
a stereo return and leave the right input unplugged.
That way, the signal will be sent to both sides,
magically appearing in the center as a mono signal.
headphone to very loud levels.
To learn how signals are routed to
these outputs, see ctl room/phones
[43] on page 20. If you’re wiring your
own cable for the phones output:
8. Sub Outs
These four 1/4" jacks are usually patched to
the inputs of a multitrack deck, or to secondary
amplifiers in a complex installation. To learn how
signals are routed to these outputs, see subgroup
faders [38], page 19.
Tip = left channel
Ring = right channel
Sleeve = common ground
WARNING: When we say the headphone
amp is loud, we’re not kidding. It can cause
permanent ear damage. Even intermediate
Double Busing
How on earth do you get four jacks to feed eight
tracks? To feed an 8-track deck with only four sub outs,
simply use four Y-cords:
levels may be painfully loud with some earphones.
BE CAREFUL! Always turn the ctl room/phones [43]
knob all the way down before connecting headphones.
Keep it down until you’ve put the phones on. Then turn
it up slowly. Why? “Engineers who fry their ears find
themselves with short careers.”
•
•
•
•
Sub Out 1 feeds tracks 1 and 5
Sub Out 2 feeds tracks 2 and 6
Sub Out 3 feeds tracks 3 and 7
Sub Out 4 feeds tracks 4 and 8
11. Tape Out
These unbalanced RCA jacks tap the main mix
outputs to make simultaneous recording and PA work
more convenient. Connect these to your 2-track
recorder’s inputs. To learn how signals are routed
to these outputs, see main mix [37] fader details
on page 19.
Tracks in record mode will accept the signal, and
tracks in safe mode will ignore the signal. It’s that easy.
This method is exactly the same as the
double-busing feature found in other mixers.
Built-in double-busing is nothing more than
Y-cords living inside the mixer instead of hanging out
the back. If we had room for the extra jacks, we would
have thrown them in, but we don’t, so we didn’t.
Sonically, there is no difference.
Mono: If you want to feed a mono signal to your tape
deck or other device, simply use the 1/4" mono [15]
output jack.
Y-cord advice: Do not use the stereo “headphone-to-
left/right” splitter adapters. Use the type that send the
same signal to two places; the tip of the source plug
feeds the tips of both destination plugs.
12. Tape In
These unbalanced RCA jacks are designed to work
with semipro as well as pro recorders. Connect your
2-track tape recorder’s outputs here, using standard hi-fi
RCA cables. To learn how signals are routed from these
inputs, see tape in (level) [40] on page 20.
12
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Use these jacks for convenient playback of mixes.
You’ll be able to review a mix, and then rewind and try
another pass without repatching or disturbing the mixer
levels. You can also use these jacks with a CD player
to feed music to a PA system between sets.
16. Mono Level
So, Mr. Mono comes running back, screaming about
the mono mix being so loud that his camcorder is
melting. Just reach for this knob and turn it down
a bit. Just the thing for sending mono signals to mic
inputs like camcorders, telephone interface boxes, even
answering machines. With the pot all the way up (fully
clockwise), you’ll have 6 dB of extra gain, with unity
gain halfway between the one and two o’clock positions.
WARNING: Pushing tape to main mix [41]
in the output section can create a feedback
path between tape input and tape output.
Make sure your tape deck is not in record, record-pause
or input monitor mode when you engage this switch,
or make sure the tape in level knob is fully counter-
clockwise (off).
17. Voltage Selector
Located on the bottom panel, is a voltage selector
switch.
13. Main Insert
These 1/4" 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 main
mix [37] fader. Insert cables must be wired thusly:
Tip = send (output to effects device)
17
Ring = return (input from effects device)
Sleeve = common ground
WARNING: Before you plug the
AC power cord into the 1604VLZ4,
you must make sure that this slide
14. Main Outs
switch is set to the same voltage as the local
AC mains supply. Only slide the voltage switch
with the power cord unplugged.
These 1/4" jacks are usually patched to the inputs
of your 2-track mixdown deck (unless you’ve chosen
to use the tape output [11] RCA jacks), or to the house
amplifier during live sound sessions. To learn how
signals are routed to these outputs see main mix [37]
fader details on page 19. To use these outputs to drive
balanced inputs, connect 1/4" TRS (Tip-Ring-Sleeve)
phone plugs like this:
Use a flat headed screwdriver to slide the switch
if needed. The switch allows you to use the mixer in
different countries and voltages, meet interesting
people from other cultures, and entertain them.
18. Power Connection
Tip = Positive (+ or hot)
Ring = Negative (– or cold)
Sleeve = Shield or ground
Just in case you lose the cord provided with the
1604VLZ4, its power jack accepts a standard 3-prong
IEC cord like those found on most professional
recorders, musical instruments, and computers.
To use these outputs to drive unbalanced inputs,
connect 1/4" TS (Tip-Sleeve) phone plugs like this:
Tip = Positive (+ or hot)
WARNING: Before you plug the AC power
cord into the 1604VLZ4, you must make sure
that the voltage selector [17] slide switch is
set to the same voltage as the local AC mains supply.
Sleeve = Shield or ground
15. Mono Out
It happens to everybody sooner or later: The forces
that govern your world will demand a monaural
output from your painstakingly-created stereo
panorama. The last thing you want to do is start
twirling all your carefully-placed pan settings to one
side. What to do? Stick a cord in this 1/4" jack, hand
the other end to Mr. Mono, and you’re done. He’s got
his mono mix and you’ve still got your stereo mix.
The mono output is nothing more than a mix of
the left and right main mix.
WARNING: Disconnecting the plug’s ground
pin can be dangerous. Don’t do it.
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20 22
19
19. Fuse
24
The 1604VLZ4 is fused for your (and its own)
protection. If you suspect a blown fuse, disconnect
the power cord, pop out the fuse drawer with a small
flat screwdriver, and replace the fuse with a 1A SLO
BLO, 5x20mm, available at electronics stores or
your dealer (or a 500 mA SLO BLO 5x20 mm if
your 1604VLZ4 is set to 220V-240V).
If two fuses blow in a row, something is very wrong.
Please call our toll-free number 1-800-898-3211 from
within the U.S. (or call the distributor in your country)
and find out what to do.
20. Power Switch
23
21
Press the top of this rocker switch inwards to turn
on the mixer. The power led [21] on the top surface
of the mixer will glow with happiness, or at least it
will if you have the mixer plugged in to a suitable
live AC mains supply.
22. Phantom Switch
This switch controls the phantom power supply
for all the mic [1] inputs, as discussed on page 9.
When turned on (or off), the phantom power circuitry
takes a few moments for voltage to ramp up (or down).
This is perfectly normal. Make sure that you pull down
the master fader, and headphone/control room volume
before engaging the phantom switch.
Press the bottom of this switch to put the mixer into
standby mode. It will not function, but the circuits are
still live. To remove AC power, either turn off the AC
mains supply, or unplug the power cord from the mixer
and the AC mains supply.
23. 48V LED
As a general guide, you should turn the mixer on
first, before the power amplifier or powered speakers,
and turn it off last. This will reduce the possibilities
of any turn-on, or turn-off thumps in the speakers.
Located right next to the power LED, this is just to let
you know which way you have the phantom [22] switch
set. If your dynamic mics work and your condensers
don’t, chances are this LED is off, so turn it on.
21. Power LED
You’ll notice that when you turn the phantom power
off, the LED stays on for a while. This is a natural phe-
nomenon — the LED is actually a voltmeter telling you
that the phantom power takes time to ramp itself down
to zero volts. So, if you’ve turned phantom power off to
connect something to the mic inputs, wait until the LED
stops glowing and then make your connections safely.
You’ve probably already figured this out, but if the
power [20] switch is on, this LED (light-emitting
diode), located in the output section, will light. If the
switch is off, well, you get the idea. If the power switch
is on and the LED does not glow, one of three things
has happened: Somebody tripped over the power cord
and yanked it from the outlet, your electricity has been
turned off due to nonpayment, or the fuse has blown.
24. BNC Lamp Socket
Located in the top right corner of the output
section, this 12V socket will drive any standard
BNC-type lamp (a Littlite® #12G or #12G-HI
(high-intensity), for instance).
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Channel Strip Description
The 16 channel strips look alike and
function identically. So if you learn one,
you have learned them all. The only
difference is that the eight on the left
have direct out [5] jacks and the eight
on the right don’t. We’ll start at the
bottom and work our way up.
26. Assign (1–2, 3–4, L–R)
Alongside each channel fader are four buttons,
labeled solo, 1–2, 3–4 and L–R. The latter three are
collectively referred to as channel assignment switches.
1, 3 and L are the left sides of these stereo pairs, and
2, 4 and R are the right sides. Used in conjunction with
the channel’s pan [31] knob, these switches determine
the destination of a channel’s signal: With pan set at
the center detent, the left and right sides receive equal
signal levels. To feed only one side or the other, just turn
the pan knob accordingly.
“U” Like Unity Gain
VLZ4 mixers have a “U” symbol on
almost every level control. This “U” stands
for “unity gain,” meaning no change in
signal level. Once you have performed
the level-setting procedure , you can set
every control at “U” and your signals will
travel through the mixer at optimal levels.
What’s more, all the labels on our 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.
If you’re doing a mixdown to a 2-track, simply engage
the L–R switch on each channel that you want to hear,
and they’ll be sent to the main mix. If you want to create
a subgroup of certain channels, engage either the 1–2
or 3–4 switches instead of the L–R, and they’ll be sent
to the appropriate subgroup faders. From there, the
subgroups can be sent back to the main mix, allowing
you to use the subgroup faders as a master control for
those channels.
If you’re printing new tracks or bouncing existing
ones, you’ll also use the 1–2 and 3–4 switches, but
not the L–R switch. Here, you don’t want the subgroups
sent back into the main mix, but sent out, via the
sub outs [8] jacks, to your multitrack inputs.
However, if you’re printing tracks via the direct
out [5] jacks, all the channel assignment switches
should be disengaged (up).
25. Channel Fader
The fader is almost the last control
in a channel’s signal path. It’s placed
after the EQ [32] and mute [30]
controls (post-EQ /post-mute) and
before the pan [31]control (pre-pan).
The “U” mark, about three-quarters of
the way up, indicates unity gain, meaning
no increase or decrease of signal level.
All the way up provides an 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 a fader near
unity, you’ll want to confirm the setting
by performing the level-setting procedure
on page 5.
The 1604VLZ4 is what we call a “true 4-bus mixer.”
Each channel may be assigned or unassigned to any of
the subgroups without affecting the other subgroups
or settings within the channel, and each subgroup has
its own master fader and dedicated output. In fact,
since there are 4 subgroups and the main L/R mix,
it’s actually a true 6-bus mixer. We could have named
it the 1606VLZ4. Darn!
25
26
A Clean Fade
Faders are not rocket science — they
operate by dragging a metal pin (the
wiper) across a carbon-based strip (the
track). It is possible for airborne crud to
land on the track. Should that happen, you may hear
scratchy noises or signal dropouts as the wiper stumbles
over the crud. Do all you can to keep airborne crud out
of your profession. Use air-conditioned rooms whenever
possible, avoid smoking near the mixer, keep food and
drink away from the mixer, and for pity’s sake, never
put the mixer in your kitchen! We also recommend
“exercising” the faders — give them a few full-travel
excursions once a week or so, and that will help scare
the crud away. Do not use spray cleaners, rather use
compressed air, or a vacuum with brush attachment.
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27. Solo
29. OL (Mute) LED
This lovable switch allows you to check signals in
the phones or control room without having to assign
them to the L-R, 1-2 or 3-4 mixes. You can solo as
many channels as you like. Solo does not interrupt
any of the other channels, buses or outputs — that’s
called nondestructive solo.
Another LED that does two completely different
things! First, the “OL” part: “OL” means overload, or
clip. You don’t want that to happen. Ever. Clipping can
happen to any mixer — it’s the point where the signal’s
voltage tries to exceed the supply voltages that power
the circuitry. The 1604VLZ4’s OL LED will come on just
before clipping, so if you see it, take immediate action:
Perform the level-setting procedure on page 5. If that
doesn’t help, check for excessive use of EQ boost or
fader gain. Like the –20 LED, it will tend to flicker in
time with that channel’s signal.
Using the mode [44]
switch, the 1604VLZ4’s solo
system comes in two flavors:
normal (AFL) (sometimes
called SIP, or solo-in-place)
and level set (PFL) (sometimes called PFL,
or pre-fader-listen). The mode switch is described
in tender loving detail on page 21.
Now for the “mute” part. Assuming your levels are set
correctly, the OL LED will never come on as a result of
clipping. That’s pretty boring. So, to liven things up, this
LED will glow steadily when that channel’s mute [30]
switch is engaged.
Level set (PFL) taps the channel signal before
the fader. If you have a channel’s fader set way
below “U” (unity gain), solo won’t know that
Here is a quick reference to these LEDs:
and will send a unity gain signal to the control room,
headphones, and meter display. That may result in
a startling level boost at these outputs, depending
on the position of the solo [46] level knob.
Name
Color
green
red
Flickering
Glowing
–20 (SOLO)
OL (MUTE)
signal present
channel clipping
channel soloed
channel muted
In a nutshell, soloed channels are sent to the source
[42] mix, that ultimately feeds your control room,
headphones and meter display. Whenever solo is
engaged, all source selections (main mix, 1–2, 3–4,
and tape) are defeated, to allow the soloed channel
to do just that — solo!
30. Mute
Engaging this switch provides the same results
as turning the channel's fader all the way down:
Any channel assignment to L-R, 1-2 or 3-4 will be
interrupted. All the post aux sends will be silenced,
as will the direct out signals on channels 1 through 8,
and the OL (mute) LED will glow. The pre aux sends,
channel insert send, and solo (in level set (PFL) mode)
will continue to function during mute.
28. –20 (Solo) LED
An LED that does two completely
different things! Saves space, recycles
the planet, but requires some
Depending on the audio content in a channel,
engaging its mute switch may cause a slight popping
sound. This is not a problem within the mixer, and it
can be avoided: Simply engage the low cut [33] switch
on each channel (unless its low frequency content is
vitally important, such as a kick drum or bass guitar).
Low cut eliminates subsonic debris, which causes the
pop, and its effect is usually transparent.
explanation. First, the “–20” part:
Often referred to as “signal activity,”
32
this LED will flicker in time with the
signal present in that channel. It’s handy
for confirming that a channel is indeed
active, and may also lend a clue as to
what the signal is. For instance, a kick
drum will cause the LED to pulse in time
with the drum, and a synth pad will cause
it to glow a bit more steadily.
31
Now for the “solo” part. When a
channel’s solo switch is engaged, this
LED will glow steadily, without flickering.
It will also be brighter than it would be
as a –20 indicator. In conjunction with
the rude solo light [47], you can find
a rogue solo switch quickly.
30
29
28
27
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+15
+10
The low EQ provides up to
15 dB boost or cut below 80 Hz.
The circuit is flat (no boost or
cut) at the center detent posi-
tion. This frequency represents
the punch in bass drums, bass
31. Pan
+5
0
This adjusts the amount of channel signal sent to
the left versus the right outputs. Pan determines the
fate of the L-R assignment, subgroups 1–2 and 3–4,
and the solo (in AFL mode). With the pan knob hard
left, the signal will feed the left main mix, subgroup 1,
subgroup 3 and left normal (AFL) solo mode (assuming
their assignment switches are engaged). With the knob
hard right, signal feeds the right main mix, subgroup 2,
subgroup 4 and right normal (AFL) solo mode. With pan
set somewhere in-between left and right, the signal will
be divided between the left and right buses.
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
guitar, fat synth patches, and some really serious male
singers who eat broken glass for breakfast.
Used in conjunction with the low cut [33] switch,
you can boost the low EQ without injecting a ton of
subsonic debris into the mix. We recommend using
the low cut feature on all channels, except low
frequency signals, like kick drums and bass guitars.
Stereo Sources
The mid EQ , or “midrange,” has a fixed bandwidth of
1 octave. The mid knob sets the amount of boost or cut,
up to 15 dB, and is effectively bypassed at the center
detent. The frequency knob sets the center frequency,
sweepable from 100 Hz to 8 kHz.
Your life will be easier if you follow this standard
convention: When patching stereo sound sources
to a mixer, always plug the left signal into an “odd”
channel (1, 3, 5, etc.) and the right signal into the
adjacent “even” channel (2, 4, 6, etc.). Then pan the
odd channel hard left and the even channel hard right.
+15
+10
+15
+10
+5
0
+5
0
Constant Loudness ! ! !
–5
–5
–10
–15
–10
–15
The 1604VLZ4’s pan controls employ a design
called “Constant Loudness.” It has nothing to
do with living next to a freeway. As you turn
the pan knob from left to right (thereby causing the
sound to move from the left to the center to the right),
the sound will appear to remain at the same volume
(or loudness).
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
100Hz
1kHz
10kHz 20kHz
Most of the root and lower harmonics that define a
sound are located in the 100 Hz–8 kHz frequency range,
and you can create drastic changes with these two
knobs. Many engineers use mid EQ to cut midrange
frequencies, not boost them. One popular trick is to set
the mid fully up, turn the frequency knob until you find
a point where it sounds just terrible, then back the mid
down into the cut range, causing those terrible frequen-
cies to disappear. Sounds silly, but it works. Sometimes.
If you have a channel panned hard left (or right) and
reading 0 dB, it must dip down about 4 dB on the left
(or right) when panned center. To do otherwise, like
those Brand X mixers, would make the sound appear
much louder when panned center.
+15
The hi EQ provides you up
to 15 dB boost or cut above
+10
32. 3-Band Mid-Sweep EQ
+5
12 kHz, and it is also flat at the
0
The 1604VLZ4 has a 3-band, mid-sweep equalization:
low shelving at 80 Hz, mid sweep peaking from 100 Hz
to 8 kHz, and hi shelving at 12 kHz. It’s probably all
the EQ you’ll ever need! (Shelving means that the
circuitry boosts or cuts all frequencies past the
specified frequency. For example, the 1604VLZ4’s
low EQ boosts bass frequencies below 80 Hz and
continuing down to the lowest note you never heard.
Peaking means that certain frequencies form a “hill”
around the center frequency.)
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.
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
With too much EQ, you can screw things up royally.
We’ve designed a lot of boost and cut into each equalizer
circuit because we love you, and know that everyone
will occasionally 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 full boost
or cut, consider altering the sound source, such
as placing a mic differently, trying a different kind of
mic, changing the strings, or gargling.
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We recommend going into a stereo reverb in
mono and returning in stereo. We have found
that on most “stereo” reverbs, the second
33. Low Cut
This switch, often referred to as a high pass filter (all
depends on how you look at it), cuts bass frequencies
below 75 Hz at a rate of 18 dB per octave. This ain’t no
thrown-in dime-store filter — an 18 dB per octave curve
requires an elaborate circuit. Nothing but the best.
input just ties up an extra aux send and adds nothing
to the sound. There are exceptions, so feel free to try it
both ways. Should you choose to use two aux sends,
use the “odd” aux (1, 3 or 5) to feed its left input
and the “even” aux (2, 4 or 6) to feed the right input.
Remember, if you’re also dealing with a stereo source
signal, you’ll want to follow the sides — use the odd aux
We recommend that you use this on every sound
source 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 on the channel carrying the left side and the even aux
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.
on the channel carrying the right.
35. Pre
This switch determines the tap point of aux 1 and 2.
Generally, “post” sends are used to feed effects devices,
and “pre” sends are used to feed your stage monitors.
See the “Pre vs. Post” diagram below. Aux 3 through 6
are always in post mode.
With low cut, you can safely boost low EQ. Many
times, bass shelving EQ can really benefit voices.
Trouble is, adding low EQ also boosts the subsonic
debris: Stage rumble, mic handling clunks, wind noise
and breath pops. Low cut removes all that debris so you
can boost the low EQ without blowing your subwoofers.
MUTE
PAN
ASSIGN
LOW
CUT
INPUT
TRIM
INSERT
EQ
FADER
AUX 1
Here’s a frequency curve of low EQ combined with
low cut:
'PRE' SIGNAL
'POST' SIGNAL
PRE SWITCH
AUX 2
+15
+10
+5
0
In post mode (switch up), aux 1 and 2 will follow
–5
the EQ [32], low cut [33], fader [25], and mute [30]
settings. If you fade the channel, you fade the send.
This is a must for effects sends, since you want
the levels of your “wet” signals to follow the level
of the “dry.”
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
34. Aux 1, 2, 3, & 4
These four knobs tap a portion of each
channel’s signal, mix them together and
send them to the aux send [6] outputs.
They are off when turned fully down,
deliver unity gain at the center detent,
In pre mode (switch down), aux 1 and 2 follow the
gain and low cut settings only. EQ, pan, fader, and mute
settings have no effect on the pre sends. This is the
preferred method for setting up stage monitor feeds
— they’ll be controlled independently of the fader and
34
35
and can provide up to 15 dB of gain turned mute moves.
fully up. Chances are you’ll never need
this extra gain, but it’s nice to know it’s
there if you do.
36. 5/6 Shift
Don’t let the fact that there’s only four aux knobs
per channel fool you — the 1604VLZ4 has six aux
sends [6]. With this 5/6 shift switch up, the knobs
labeled aux 3 and aux 4 deliver their signals to aux
send 3 and 4 outputs. With this switch down, the
signals appear at the aux send 5 and 6 outputs.
The aux send outputs are then patched
to parallel effects processor inputs or stage
monitor amp inputs. Aux sends 1 and 2
levels are controlled not only by the
channel’s aux knobs, but also by the
aux send [49] master knobs.
36
We recommend that aux send 3 and 4 be patched into
your “utility” effects, like a short reverb and slap delay;
effects you use all the time. Use aux send 5 and 6 for
“exotic” effects, like harmonizers and multi-tap delays;
they are not likely to be used as often.
Aux sends can also be used to
generate separate mixes for recording
or “mix-minuses” for broadcast. By using
aux 1 or 2 in the pre [35] mode, these
mix levels can be obtained independently
of a channel’s fader [25] settings.
33
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Output Section Description
You’ve just learned about the input channels and how
the signals get in and out. The signals come in via mic
[1] and line [2] input jacks, are manipulated by the
channels, and then sent to the output (master) section.
Things get a little more complicated, so put on your
thinking caps, take a deep cleansing breath, take this
manual, get on a bycycle, ride down to the canal, ponder
your life and all its unique experiences, then read this
section.
37. Main Mix Fader
This fader controls the levels of signals sent to the
main out [14] jacks and tape output [11] RCA jacks.
All channels and stereo returns that are assigned to the
main mix, not muted and not turned fully down will
appear at the main outs. Before the main mix gets to
this fader, the signals pass through the main insert [13].
The main mix signals are off with the fader fully down,
the “U” marking is unity gain, and fully up provides
10 dB additional gain. This additional gain will typically
never be needed, but once again, it’s nice to know
it’s there. The fader itself is a stereo version of the
channel and subgroup faders — same supersmooth
custom taper, same dead silence when turned fully
down. This is the fader to pull down at the end of the
song when you want “The Great Fade-Out.”
38. Subgroup Faders
As you might expect, these faders control the levels
of signals sent to the sub outs [8]. All channels that are
assigned to subgroups with the assign [26] switches,
not muted and not turned fully down will appear at the
sub outs. Unlike the main out [14], the subgroup signals
do not pass through an insert jack on their way to the
subgroup faders. That’s no problem — should you want
to send these signals through a serial effects processor,
simply patch from the sub outs to the effect’s input,
and from the effect’s output to whatever the final
destination is, usually a multitrack recorder.
The subgroup 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’re
treating two subgroups as a stereo pair, subgroup
1 and 2 for example, make sure that both subgroup
faders “ride” together, to maintain the left/right balance.
39. Assign To Main Mix
39
One popular use of the subgroups is to use them
as master faders for a group of channels on their way
to the main mix. Let’s say you’ve got a drum kit hogging
up seven channels and you’re going to want to fade them
out at a different rate than the other channels. You don’t
want to try that with seven hands or seven fingers,
so just un-assign these channels from L–R, reassign
them to subgroup 1–2, engage the assign to main mix,
left on subgroup 1 and the assign to main mix, right
on subgroup 2. Now you can ride the entire stereo drum
mix with two faders — 1 and 2.
38
37
If you engage just one assign to main mix switch per
subgroup (left or right), the signal sent to the main
mix will be the same level as the sub outs [8]. If you
want the subgroup to appear in the center of the main
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mix, engage both the assign to main mix, left and right
switches. The signal will be sent to both sides, and
will be attenuated just enough to preserve constant
loudness, just like the channel pan [31] knobs when
set in the center.
41. Tape To LR
Engaging this switch is just like engaging the L-R
switch on a channel — the signal, stereo in this case, is
sent to the main mix. It does not interrupt other signals,
just adds itself to them. This switch can be very handy
in a live sound situation when you want to play soothing
elevator music to an anxious crowd.
40. Tape In (Level)
This knob controls the level of the stereo signal com-
ing from the tape input [12] RCA jacks. Its range is off
when fully down, unity at the center detent, with 20
dB additional gain turned fully up, which may come in
handy if you’ve patched in a device with wimpy output
levels. After the level is determined, the stereo tape
signal can be sent to either of two places — the main
mix or the source [42] matrix.
WARNING: Engaging tape to main mix can
create a feedback path between tape input
[12] and tape output [11]. Make sure your
tape deck is not in record, record-pause or input
monitor mode when you engage this switch, or that
the tape in [40] level knob is turned fully down.
42. Source
Typically, the engineer sends the main mix to an
audience or to a mixdown deck (if recording). But what
if the engineer needs to hear something other than the
main mix? With the 1604VLZ4, the engineer has several
choices of what to listen to. This is one of those tricky
parts — have a double espresso first.
Using these switches, you can choose to listen to any
combination of main mix, subs 1-2, subs 3-4 and tape.
Selections made here deliver stereo signals to the
control room, headphones, and meter display. These
signals are tapped off as follows — post-main mix fader,
post subgroup faders [38], and post-tape in [40] knob.
With no switches engaged, there will be no signal
at these outputs and no meter indication, with two
exceptions: solo and stereo return 4.
Regardless of the source matrix selection, engaging
a solo switch will replace that selection with the solo
signal, also sent to the control room, headphones, and
meter display. This is what makes the level-setting
procedure so easy.
Now you know how to select the signals you want
to send to the engineer’s control room and/or phones.
Once selected, these signals all pass through the same
level control, aptly named:
43
42
40
41
43. CR/Phones
As you might expect, this knob controls the levels
of both the stereo control room, and the headphones.
Make sure that you move it to minimum before selecting
or adding a new source.
46
44
45
Whatever your selection, you can also use
the control room outputs for other applications.
The sound quality is just as impeccable as the main
outputs. It can be used as an additional main mix
output and this one will have its own level control.
However, should you do this, be aware that if you
engage a solo [27] switch, that will interrupt the mix:
47
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Engaging a solo switch will cause this dramatic turn
of events: Any existing source matrix selections will be
replaced by the solo signals, appearing in the control
room, headphones and meter display. The audible solo
levels are controlled by the solo [46] level knob.
The solo levels appearing on the meter display
are not controlled by anything — you wouldn’t want
that. You want to see the actual channel level on
the display, regardless of how loud you’re listening.
45. Level Set LED
When the mode switch [44] is engaged, it’s in PFL
mode, the mode you must be in to set levels. Now, when
you engage any solo switch, this LED will be a “green
light” to set levels. If you tried to set levels during AFL
mode, the meter display would be at the mercy of the
channel fader, and that would be a big problem.
46. Solo (Level)
This knob controls the level of the signals coming
from the solo system. After the solo level is determined,
the solo signals will proceed to take over the control
room, headphones, and meter display.
44. Mode (AFL/PFL)
The 1604VLZ4’s solo system comes in two flavors:
AFL (sometimes called SIP, or solo-in-place) and PFL
(sometimes called PFL, or pre-fader-listen).
Once again, PFL solo taps the channel signal
before the fader. If you have a channel’s fader
set way below “U” (unity gain), PFL solo
In AFL, the soloed channel’s signal is sent directly
to the control room, headphones and meter display just
as it would sound to the channel’s assignment switches:
post-EQ [32], post-fader [25] and post-pan [31].
The only difference is that solo works regardless
of the channel’s assignment positions, and that
makes it really handy — you can check out a
channel before you assign it.
won’t know that and will send a unity gain signal to
the control room, headphones, and meter display. This
may result in a startling level boost at these outputs,
depending on the position of the solo level knob.
47. Rude Solo Light
AFL is the preferred mode during mixdown:
If the channel has some midrange boost at 4.236kHz,
is panned a smidgen to the left, and its fader is at
–5.385dB, that’s exactly what you’ll hear if you solo
during AFL mode. It’s just as if you took the time to
mute all the other channels.
This flashing LED (light emitting diode) serves
two purposes — to remind you that you’re in solo,
and to let you know that you’re mixing on a 1604VLZ4.
No other company is so concerned about your level of
solo awareness. We even force the soloed channel’s –20
LED to play along, so you can find that rogue switch fast.
PFL solo is the key player in the all-important
level-setting procedure . It’ll send the channel’s
actual internal levels to the meters so you’ll know
just what’s going on, level-wise. This procedure should
be performed every time a new sound source is patched
into a channel’s mic [1] or line [2] input jacks.
If you work on a mixer that has a solo function with
no indicator lights, and you happen to forget you’re
in solo, you can easily be tricked into thinking that
something is wrong with your mixer. Hence the rude
solo light. It’s especially handy at about 3:00 in the
morning, when no sound is coming out of your monitors,
even though your multitrack is playing back like mad.
PFL is also the preferred mode for SR (sound
reinforcement, or live sound), to preview channels
before they are let into the mix. It won’t give you stereo
placement, but will give you signal even if the fader
is turned down.
Remember, PFL taps the channel signal before
the fader. If you have a channel’s fader set way
below “U” (unity gain), solo won’t know that
and will send a unity gain signal to the control room,
headphones, and meter display. That may result in a
startling level boost at these outputs, depending on the
position of the solo [46] level knob.
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48. Meters
Meters vs. Reality
The 1604VLZ4’s peak metering system is made up of
two columns of twelve LEDs. Deceptively simple,
considering the multitude of signals that can be
You may already be an expert at the world of “+4” (+4
dBu=1.23 V) and “–10” (–10 dBV=0.32 V) operating
levels. Basically, what makes a mixer one or the other
monitored by it. If nothing is selected in the source [42] is the relative 0 dB VU (or 0 VU) chosen for the meter
matrix, and no channels are in solo [27], the meter
display will just sit there. To put them to work,
you must make a selection in the source matrix
(or engage a channel's solo switch).
display. A “+4” mixer, with a +4 dBu signal pouring out
the back will actually read 0 VU on its meter display.
A “–10” mixer, with a –10 dBV signal trickling out, will
read, you guessed it, 0 VU on its meter display. So when
is 0 VU actually 0 dBu? Right now!
Why? You want the meter display to reflect what
the engineer is listening to, and as we’ve covered, the
engineer is listening either to the control room output
At the risk of creating another standard, VLZ4
compact mixers address the need of both crowds
or the headphones. The only difference is that while the by calling things as they are: 0 dBu (0.775 V) at the
listening levels are controlled by the CR/phones [43]
knob, the meter display reads the source mix before
that control, giving you the real facts at all times,
even if you’re not listening at all.
output shows as 0 VU on the meter display. What could
be easier? By the way, the most wonderful thing about
standards is that there are so many to choose from.
Thanks to the 1604VLZ4’s wide dynamic range,
When the solo mode [44] switch is set to PFL (down), you can get a good mix with peaks flashing anywhere
all soloed signals will be sent to the left meter only.
That, combined with the level set LED [45], are along
the path of enlightenment known as the level-setting
procedure (page 5). During AFL mode, the meters will
behave normally.
between –20 and +10 dB on the meter display.
Most amplifiers clip at about +10 dB, and some
recorders aren’t so forgiving either. For best real-world
results, try to keep your peaks between “0” and “+7.”
Please remember: Audio meter displays 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).
If you find that staring at the meters sends you into a
hypnotic trance, please do not be alarmed. Just cut my
lawn and polish my car every Tuesday.
43
48
42
45
44
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These knobs go from off (turned fully down), to unity
gain at the center detent, with 10 dB of extra gain
(turned fully up). As with some other level controls, you
may never need the additional gain, but if you ever do,
you’ll be glad you bought a 1604VLZ4.
This is usually the knob you turn up when the lead
singer glares at you, points at his stage monitor, and
sticks his thumb in the air. (It would follow suit that if
the singer stuck his thumb down, you’d turn the knob
down, but that never happens.)
52
49
50
51
51
50. Aux Sends Solo
Once again, in live sound situations aux send 1 and
2 are likely to feed your stage monitors. You’ll want to
check the mix you’re sending them, and that’s what
these two buttons are for. (Aux 3 through aux 6 have no
such switch.) Beside each switch is a green LED that,
just like the channel’s –20 LED [28], helps you find the
rogue solo switch.
54
56
53
55
The only thing different about aux sends solo is that
it’s not really PFL (pre-fader listen), and it’s not really
SIP (solo-in-place), it’s actually AFL (after-fader
listen). During AFL [44] mode , you’ll get aux send 1’s
solo signal, post-aux sends [49] master level, in the left
side of the control room outputs, phones output and
meter display, and aux send 2 on the right side. (If you
ever use aux 1 and 2 to create a stereo monitor mix,
you’ll understand why.) In PFL mode, you’ll get the
signal dead-center, but still post-aux sends master level.
Aux Talk
Sends are outputs, returns are inputs. Each channel's
aux [34] knobs tap the signal off the channel and send
it to the aux send [6] outputs. Aux 1 and 2 are sent to
the aux sends 1 and 2 [49] master knobs before the aux
send outputs; aux 3 through 6 are sent directly.
51. Stereo Returns (Level)
These outputs can be fed to the inputs of a reverb or
other device. From there, the outputs of the external
device are fed back to the mixer’s stereo return [7]
inputs. Then these signals are sent through the stereo
return [51] level controls, and finally delivered to the
main mix.
These four controls set the overall level of effects
received from the stereo return [7] input jacks. These
controls are designed to handle a wide range of signal
levels — each knob goes from off, to unity gain at the
detent, to 20 dB gain fully clockwise, to compensate for
low-level effects. Signals passing through these level
controls will proceed directly to the main mix fader
[37], with exceptions that we’ll discuss in a moment.
So, the original “dry” signals come from the channels
to the main mix, and the affected “wet” signals come
from the stereo returns to the main mix, and once mixed
together, the dry and wet signals combine to create a
glorious sound. Armed with this knowledge, let’s visit
the Auxiliary World:
Typically, these knobs can just live at the center
detent, and the effects device’s output control should
be set at whatever they call unity gain (check their
manual). If that turns out to be too loud or too quiet,
adjust the effects device’s outputs, not the mixer.
That way, the mixer’s knobs are easy to relocate
at the center detent.
49. Aux Sends (Master)
These knobs provide overall level control of aux sends
1 and 2, just before they’re delivered to their aux send
[6] outputs. This is perfect for controlling the level
of stage monitors, since you’ll be using aux 1 and 2 for
this, with their pre [35] switches engaged. Aux sends 3
through 6 have no such control — they’ll just send their
mixes directly to their respective aux send outputs at
unity gain.
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53. Main Mix To Subs (Stereo Return 3)
With this switch up, stereo return 3 behaves like all
the others — it delivers a stereo signal, regulated by
its level knob, to the main mix. When you engage this
switch, the signals are removed from the main mix
buses and sent to the 1-2/3-4 switch, which diverts the
signal once more. We’re not finished. Please read on.
54. 1–2/3–4 (Stereo Return 3)
52
49
50
51
51
If the main mix to subs [53] switch is disengaged,
this switch does absolutely nothing. Let’s now assume
it’s engaged. Stereo return 3’s stereo signal will not be
sent to the main mix, but to subgroup faders 1 and 2
(this switch up) or subgroup faders 3 and 4 (this switch
down).
54
56
53
55
Let’s say you’ve made a stereo drum submix on
subgroup faders 1 and 2, so you can ride those two
faders instead of the seven channels that the drums
came from. Subgroup fader 1 has its assign to main
mix [39], left button engaged and subgroup fader 2
has its assign to main mix, right button engaged,
blending the drum submix back into the main mix.
The drum channels are also sending signals to your
reverb via the aux sends [6], and the reverb outputs
are patched into stereo return 3 [7]. So far so good.
52. To Aux 1 and To Aux 2
Even though you could send stereo return 3 directly
to the main mix (main mix to subs [53] switch up),
you don’t want to. Instead, engage the main mix to subs
switch and make sure the 1–2/3–4 switch is up. Now the
reverb return will be blended into the drum submix, and
as you ride those two faders, the reverb level will follow.
If you want to add reverb or delay to the stage
monitor mixes, these are the knobs for you.
Operating independently of their respectively
numbered stereo returns [51] level controls, these
knobs are exactly the same as the channel strip
aux 1 [34] and aux 2 knobs.
Why do we want that? Because if you had just sent
the reverb directly to the main mix (main mix to subs
switch up) and you did a drum fade-out using subgroup
faders 1 and 2, the “dry” signals would fade out, but the
“wet” signals would keep on singing. All you would hear
is the drum reverb (the “wet”), and none of the original
drum signals (the “dry”). That’s because the reverb is
being fed by the channel’s aux sends, and they have no
idea that you’ve pulled down the subgroup faders. That’s
why we threw in these switches, phew!
These two knobs feed stereo return signals to their
respective aux send [6] outputs:
To aux send 1 feeds stereo return 1 to aux send 1
master, and:
To aux send 2 feeds stereo return 2 to aux send 2
master.
They are off when turned fully down, deliver unity
gain at the center detent, and can provide up to 15 dB
of gain turned fully up. Stereo return 3 and 4 have no
such knobs.
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55. CR/PH Only (Stereo Return 4)
Once again, the default for all the stereo returns is to
feed them directly into the main mix. You’ve just learned
about the optional exceptions involving stereo return 3.
Stereo return 4 also has an optional exception: By
engaging this switch, you will remove stereo return 4’s
stereo signal from the main mix and send it directly to
the CR/phones source [42] matrix. It matters not if any
of the source matrix switches are assigned, but it will be
interrupted, as usual, if a solo [27] switch is engaged.
Let’s pretend you’re doing a live mix to a 2-track deck,
a house PA, or both, and you want to play along to a
click track. You could run the click track directly into
the main mix, but you don’t want the mixdown deck
and/or audience to hear it. By gum, this is the switch
for you. Similarly, it can be used for voice-over tracks,
narration, anything you want heard by the engineer and
players but not by the audience and mixdown deck.
56. Returns Solo and LED
This switch operates just like the channel solo [27]
switches — engaging it sends signals to the control
room, headphones, and meter display, and interrupts
whatever happened to be there before you soloed.
It follows the mode [44] switch setting as well.
The only difference is that when you engage this
returns solo switch, it sends all four stereo returns
signals to the solo circuit.
Assume you want to solo the snare drum. Hit that
channel’s solo switch, and you get the “dry” (no effects)
snare only. That helps, but you want to hear it with the
reverb you have patched into a stereo return. Leaving
that channel’s solo switch engaged, also engage the
returns solo switch, and now you’ll get the dry snare
and its reverb.
Since it is a global feature, you’ll also get the signals
from all the other stereo returns, so there may be some
sounds that you didn’t want to hear. If they offend your
sensibilities, simply turn down the levels of the stereo
returns you don’t want to hear, or mute the channels
feeding the unwanted signal to the effects device you
do want to hear.
Congratulations! You’ve just read about all the
features of your 1604VLZ4. You’re probably ready for
a cold one. Go ahead. The rest of the manual can wait.
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Appendix A: Service Information
Warranty Service
Repair
If you think your 1604VLZ4 has a problem, please
check out the following troubleshooting tips and do
your best to confirm the problem. Visit the Support
you will find lots of useful information such as FAQs
and other documentation. You may find the answer
to the problem without having to send your mixer away.
For warranty service, refer to the warranty
information on page 35.
Non-warranty service is available at a factory-
authorized service center. To locate the nearest
Tech Support” and select “Locate a Service Center
or Distributor” [3]. Service for a 1604VLZ4 living
outside the United States may be obtained through
local dealers or distributors.
Troubleshooting
If you do not have access to our website, you can
call our Tech Support department at 1-800-898-3211,
Monday-Friday, 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.
Bad Channel
•
Are the channels assigned to the correct mix
(1-2, 3-4, L-R )?
•
•
Is the fader up?
Try unplugging any insert devices from the
insert jacks.
•
Try the same source signal in another channel,
set up exactly like the suspect channel.
Bad Output
•
•
Is the level control (if any) turned up?
If you’re listening to the CR outs or phones
outputs, has a source selection been made?
•
•
If it’s one of the main outs, try unplugging its
companion. For example, if it’s the 1/4" left
main out, unplug the RCA output. If the
problem goes away, it’s not the mixer.
Appendix B: Connections
If it’s a stereo pair, try switching them around.
For example, if a left output is presumed dead,
switch the left and right cords, at the mixer
end. If the problem stays on the left, it’s not the
mixer.
Balanced XLR Input Connector
The 1604VLZ4 mixer has 16 female XLR inputs.
Be sure the cables are wired per AES (Audio
Engineering Society) standards:
•
Unplug everthing from the main inserts.
Balanced XLR Input Connector
Noise
Pin 1 – Shield (Ground)
Pin 2 – Positive (+ or hot)
Pin 3 – Negative (– or cold)
•
Turn the channel faders and stereo return
knobs down, one by one. If the sound
disappears, it’s either that channel or
whatever is plugged into it, so unplug
whatever that is. If the noise disappears,
it’s from your whatever.
2
SHIELD
HOT
1
3
COLD
SHIELD
COLD
HOT
1
Power
3
2
•
Unplug the power cord and check the fuse.
Balanced XLR Input Connector
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accept 1-plug-type stereo microphones. They
must be separated into a left cord and a right
cord, which are plugged into the two mic
preamps.
Balanced XLR Output Connector
The male XLR connectors provide a balanced line-
level signal that represents the end of the mixer, where
the fully mixed stereo signal enters the real world.
Connect these to the left and right line-level inputs
of powered speakers or to the left and right line-level
inputs of an amplifier (with speakers already attached).
Be sure the cables are wired per AES (Audio
You can cook up your own adapter for a stereo
microphone. “Y” two cables out of a female 1⁄4"
TRS jack to two male XLR plugs, one for the
right signal and one for the left.
•
Unbalanced send/return circuits. When wired
as a send/return “Y” connector, a 1⁄4" TRS jack
or plug is connected tip to signal send (output
from mixer), ring to signal return (input back
into mixer), and sleeve to ground (earth).
Engineering Society) standards:
Balanced XLR Output Connector
Pin 1 – Shield (Ground)
Pin 2 – Positive (+ or hot)
Pin 3 – Negative (– or cold)
Unbalanced 1/4" TS Connector
SHIELD
1
TS stands for Tip-Sleeve, the two connections
available on a mono 1⁄4" cable. This allows for a direct
conection to the channel input jacks. Be sure the cables
are wired per AES (Audio Engineering Society)
standards:
3
COLD
3
2
HOT
SHIELD
COLD
HOT
1
2
Unbalanced 1/4" TS Connector
Balanced XLR Output Connector
Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
Balanced 1/4" TRS Connector
SLEEVE
SLEEVE
TIP
TRS stands for Tip-Ring-Sleeve, the three connections
available on a stereo 1/4" cable. This allows for a direct
connection to the channel input jacks. Be sure the
cables are wired per AES (Audio Engineering Society)
standards:
TIP
TIP
SLEEVE
Unbalanced 1/4" TS Connector
TS jacks and plugs are used in many different
applications, always unbalanced. The tip is connected
to the audio signal and the sleeve to ground (earth).
Some examples:
Balanced 1/4" TRS Connector
Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
Ring – Negative (– or cold)
•
•
•
Unbalanced microphones
RING SLEEVE
SLEEVE RINGTIP
Electric guitars and electronic instruments
Unbalanced line-level connections
TIP
RING
TIP
Switched 1/4" Phone Jacks
SLEEVE
Switches can be incorporated into 1⁄4" phone jacks,
which are activated by inserting the plug. These
switches may open an insert loop in a circuit, change
the input routing of the signal or serve other functions.
The 1604VLZ4 uses switches in the channel insert and
bus insert jacks, input jacks and stereo returns. It also
uses these switches to ground the line-level inputs when
nothing is plugged into them.
Balanced 1/4" TRS Connector
TRS jacks and plugs are used in several different
applications:
•
Balanced mono circuits. When wired as a
balanced connector, a 1⁄4" TRS jack or plug
is connected tip to signal high (hot), ring to
signal low (cold), and sleeve to ground (earth).
In most cases, the plug must be inserted fully to
activate the switch. The 1604VLZ4 takes advantage of
this in some circuits, specifying circumstances where
you are to insert the plug only partially. See “Special
Connections”, on the next page.
•
Stereo Headphones, and rarely, stereo
microphones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug
is connected tip to left, ring to right and sleeve
to ground (earth). VLZ4 mixers do not directly
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Unbalanced RCA Connector
TRS Send/Receive Insert Jacks
RCA-type plugs (also known as phono plugs)
and jacks are often used in home stereo and video
equipment and in many other applications. RCA plugs
are unbalanced. Connect the signal to the center post
and the ground (earth) or shield to the surrounding
“basket.” Be sure the cables are wired per AES (Audio
Engineering Society) standards:
Single-jack inserts are three-conductor, TRS-type 1⁄4"
phone. They are unbalanced, but have both the mixer
output (send) and the mixer input (return) signals in
one connector. See the illsutration below.
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the external unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
Unbalanced RCA Connector
Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
SEND to processor
ring
tip
(TRS plug)
tip
sleeve
SLEEVE
TIP
SLEEVE
TIP
This plug connects to one of the
mixer’s Channel Insert jacks.
ring
RETURN from processor
Unbalanced 1/4" Insert Connectors
Unbalanced RCA Connector
Special Connections
Unbalancing a Line
The balanced-to-unbalanced connection has been
anticipated in the wiring of 1604VLZ4 jacks. A 1⁄4" TS
plug inserted into a 1⁄4" TRS balanced input, for
example, will automatically unbalance the input and
make all the right connections. Conversely, a 1⁄4"
TRS plug inserted into a 1⁄4" unbalanced input will
automatically tie the ring (low or cold) to ground
(earth).
In most studio, stage and sound reinforcement situ-
ations, there is a combination of balanced and unbal-
anced inputs and outputs on the various pieces of
equipment. This usually will not be a problem in making
connections.
•
When connecting a balanced output to an
unbalanced input, be sure the signal high (hot)
connections are wired to each other, and that
the balanced signal low (cold) goes to the
ground (earth) connection at the unbalanced
input. In most cases, the balanced ground
(earth) will also be connected to the ground
(earth) at the unbalanced input. If there are
ground-loop problems, this connection may be
left disconnected at the balanced end.
Using the Send Only on an Insert Jack
If you insert a TS (mono) 1⁄4" plug only partially (to
the first click) into a VLZ4 insert jack, the plug will not
activate the jack switch and will not open the insert
loop in the circuit (thereby allowing the channel signal
to continue on its merry way through the mixer).
•
When connecting an unbalanced output to a
balanced input, be sure that the signal high
(hot) connections are wired to each other. The
unbalanced ground (earth) connection should
be wired to the low (cold) and the ground
(earth) connections of the balanced input. If
there are ground-loop problems, try connecting
the unbalanced ground (earth) connection only
to the input low (cold) connection, and leaving
the input ground (earth) connection discon-
nected.
This allows you to tap out the channel or bus 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 the
illustration on the next page.
•
In some cases, you will have to make up special
adapters to interconnect your equipment. For
example, you may need a balanced XLR female
connected to an unbalanced 1⁄4" TS phone
plug.
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NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
VLZ4 Stereo Inputs and Returns:
Mono, Stereo, Whatever
Stereo line inputs and stereo returns are a fine
example of our philosophy (which we just made up)
of Maximum Flexibility with Minimum Headache.
The inputs and returns will automatically be mono
or stereo, depending upon how you use the jacks.
Here’s how it works:
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first click.
A mono signal should be patched into the input
or return jack labeled left (mono). The signal will
be routed to both the left and right sides of the return
circuit, and will show up in the center of the stereo pair
of buses it’s assigned to, or it can be panned with the
pan [26] control.
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second click.
A stereo signal, having two plugs, should be patched
into the left (mono) and the right input or return jacks.
A jack switch in the right jack will disable the mono
function, and the signals will show up in stereo.
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(Tip = Send TO effect, Ring = Return FROM effect).
A mono signal connected to the right jack will show
up in the right bus only. You probably will only want to
use this sophisticated effect for special occasions.
Using the Send Only on an Insert Jack
Mults and “Y”s
A mult or “Y” connector allows you to route one output
to two or more inputs by simply providing parallel
wiring connections. You can make “Y”s and mults for
the outputs of both unbalanced and balanced circuits.
Remember: Only mult or “Y” one output into
several inputs. If you need to combine several
outputs into one input, you must use a mixer,
not a mult or a “Y.”
Y-cord splitter cable
RING (IN)
RING
TIP
(RETURN) (SEND)
RING (RETURN)
TIP (OUT)
TO MIXER
CHANNEL INSERT
FROM
PROCESSOR
OUTPUT
TO
PROCESSOR
INPUT
TIP (SEND)
Y-cord insert cable
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Appendix C: Technical Information
Specifications
Main Mix Noise
Impedances
Mic in:
2.5 k
(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.)
Channel Insert return:
All other inputs:
Tape out:
2.5 k
10 k or greater
Main Mix fader unity, channel faders down:
(92 dB Signal to Noise Ratio, ref +4 dBu)
–88.5 dBu
1.1 k
120
All other outputs:
Main Mix fader unity, channel faders @ unity: –82.5 dBu
EQ
Total Harmonic Distortion (THD)
High Shelving
Mid Peaking
Low Shelving
Low Cut Filter
15 dB @ 12 kHz
(1 kHz 35 dB gain, 20 Hz–20 kHz bandwidth)
15 dB sweep 100 Hz–8 kHz
15 dB @ 80 Hz
Mic in to insert send:
Mic in to Main Out:
<0.0007%
<0.005%
18 dB/octave, –3 dB @ 75 Hz
Attenuation (Crosstalk)
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth,
Line in, 1⁄4" Main Out, Gain @ unity.)
Power Consumption
50 watts
Channel Mute switch engaged:
Channel Gain knob down:
–84 dBu
–84 dBu
Fuse Ratings
100–120 VAC
220–240 VAC
1A Slo Blo, 5 x 20 mm
0.5A Slo Blo, 5 x 20 mm
Frequency Response
Mic Input to Main Output (Gain @Unity)
Dimensions (H x W x D) in Normal Pod Position
+0, –1 dB, 20 Hz to 50 kHz
17.0" x 17.3" x 5.1" (433 mm x 440 mm x 129 mm)
+0, –3 dB, <10 Hz to >100 kHz
Weight
Equivalent Input Noise (EIN)
20.0 lb (9.1 kg)
(Mic in to Insert Send out, max gain.)
150 termination:
–128.5 dBu
Since we are always striving to improve our products by
incorporating new and improved materials, components, and
manufacturing methods, we reserve the right to change these
specifications at any time without notice.
Common Mode Rejection Ratio (CMRR)
(Mic in to Insert Send out, max gain.)
The “Running Man” figure is a registered trademark of
LOUD Technologies Inc. All other brand names mentioned
are trademarks or registered trademarks of their respective
holders, and are hereby acknowledged.
1 kHz:
better than –70 dB
Maximum Levels
Mic in:
+22 dBu
+22 dBu
+28 dBu
+22 dBu
The technical writer responsible for this manual tends to fade
in and out of various different realities, depending on how
many cups of tea he has had. Please check our website for any
All other inputs:
Main Mix TRS out:
All other outputs:
©2013 LOUD Technologies Inc. All Rights Reserved.
30
1604VLZ4
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Dimensions
19.0 in / 483 mm
[with rack ears fitted]
5.6 in / 141 mm
[with rack ears fitted
in upper position]
5.1 in / 129 mm
17.3 in / 440 mm
WEIGHT
20 lb
9.1 kg
9.4 in / 238 mm
[with rack ears fitted in upper position]
Pod in normal position
8.7 in / 222 mm
6.3 in / 160 mm
[with rack ears fitted in upper position]
Pod in back position
5.7 in / 144 mm
Pod in front (with optional RotoPod)
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Track Sheet
Session:
Date:
Notes:
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BlockDiagram
CR/PHN R
CR/PHN L
LOGIC
PFL
SIP R
SIP L
AUX 6
AUX 5
AUX 4
AUX 3
AUX 2
AUX 1
SUB 4
SUB 3
SUB 2
SUB 1
MAIN R
MAIN L
34
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1604VLZ4 Limited Warranty
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.720trees.com to find contact
information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.720trees.com or by calling LOUD technical support at 1.800.898.3211 (toll-free in
the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD holidays.
Please retain the original dated sales receipt as evidence of the date of purchase. You will need it to obtain
any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.720trees.com.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located at
www.720trees.com constitutes the entire agreement, and supersedes any and all prior agreements
between LOUD and Customer related to the subject matter hereof. No amendment, modification or
waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written
instrument signed by the party to be bound thereby.
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16220 Wood-Red Road NE
Woodinville, WA 98072 • USA
Phone: 425.487.4333
Toll-free: 800.898.3211
Fax: 425.487.4337
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