402VLZ4
4-Channel Ultra-Compact Mixer
O W N E R ’ S M A N U A L
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20. Exposure to extremely high noise levels may cause
permanent hearing loss. Individuals vary considerably
in susceptibility to noise-induced hearing loss, but
nearly everyone will lose some hearing if exposed
to sufficiently intense noise for a period of time. The
U.S. Government’s Occupational Safety and Health
Administration (OSHA) has specified the permissible
noise level exposures shown in the following chart.
Contents
Block Diagram........................................21
Dimensions / Microphone Stand..............22
According to OSHA, any exposure in excess of these
permissible limits could result in some hearing loss.
To ensure against potentially dangerous exposure
to high sound pressure levels, it is recommended
that all persons exposed to equipment capable of
producing high sound pressure levels use hearing
protectors while the equipment is in operation. Ear
plugs or protectors in the ear canals or over the ears
must be worn when operating the equipment in order
to prevent permanent hearing loss if exposure is in
excess of the limits set forth here:
Duration Sound Level Typical Example
Per Day dBA, Slow
in hours Response
8
6
4
3
2
90
92
95
97
100
Duo in small club
Subway Train
Very loud classical
music
1.5
1
102
105
Matt screaming at
Troy about deadlines
0.5
110
0.25 or 115
less
Loudest parts at a
rock concert
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Part No. SW0968 Rev. C 08/14
©2014 LOUD Technologies Inc. All Rights Reserved.
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Features
Introduction
• 4-channel mixer featuring our
signature high-headroom, low-noise
design
The 4-channel 402VLZ4 features our
flagship Onyx mic preamps in an ultra-
compact design that is an industry-leading
performer ideal for professional low-input
applications.
• 2 boutique-quality Onyx mic preamps
• Ultra-wide 60 dB gain range
• 128.5 dB dynamic range
From every input to every output, the
402VLZ4 is designed to provide the highest
headroom and lowest noise possible for
maximum signal integrity.
Plus, it truly is "Built-Like-A-Tank" with
a ridiculously rugged solid steel chassis and
high-contrast controls for ultimate tactile
control.
And with features like instrument level
inputs, phantom power and level metering,
the 402VLZ4 is the premier mixer choice for
anybody who's big on performance, but light
on inputs.
• +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
• 4 high-headroom line inputs
• Selectable instrument inputs on first
two channels – no DI box needed
• 2-band EQ (80 Hz, 12 kHz)
How To Use This Manual
• 18 dB/oct 100 Hz low-cut filter on
mic input channels
After this introduction, a getting started
guide will help you get things set up fast.
The hookup diagrams show some typical
setups, while the remaining sections provide
details of the 402VLZ4 mixer.
• High-resolution 8-segment stereo
meters
• Sealed rotary controls resist dust
and grime
• "Built-Like-A-Tank" rugged steel
chassis with powder-coat finish
This icon marks information that is
critically important or unique to
the 402VLZ4. For your own good,
read and remember them.
• High-visibility, high-contrast controls
deliver convenient "at-a-glance" visual
feedback
This icon will lead you to in-depth
explanations of features and some
practical tips. They usually have
some valuable nuggets of information.
This icon draws attention to
certain features and functions
relating to the usage of the
402VLZ4.
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Getting Started
Things to Remember
The following steps will help you set up
the 402VLZ4 mixer quickly.
• Never listen to loud music for
prolonged periods. Please see the
Safety Instructions on page 3 for
information on hearing protection.
1. Make all initial connections with the
power switches OFF on all equipment.
Make sure the gain knobs and main
mix knob are fully down [counter-
clockwise].
• As a general guide, the 402VLZ4 should
be turned on first, then the speakers.
As such, the mixer should also be
turned off last. This will reduce the
possibility of any turn-on or turn-off
thumps and other noises generated by
any upstream equipment from coming
out of the speakers.
2. Set the level knobs and EQ knobs at
the center [unity].
3. Connect the signal source to the input
of channel 1.
4. Connect the main outputs of the
402VLZ4 to the inputs of powered
speakers [or to the inputs of an
amplifier which should be connected
to passive speakers].
• Save the shipping boxes and
packing materials! You may need
them someday. Besides, the cats will
love playing in them and jumping out
at you unexpectedly. Remember to
pretend that you are surprised!
5. Push the 3-pin female side of the
power adaptor securely into the
connector on the rear of the 402VLZ4.
Plug the other end into an AC outlet
properly configured with the correct
voltage as indicated on the AC adaptor.
• Save your sales receipt in a safe place.
6. Light some incense, man...
7. Turn the mixer on.
8. Turn the speakers on.
9. Start the signal source and raise the
main mix knob up until audio may be
heard through the speakers.
10. Adjust the gain control so that the
OL LED does not come on very often,
if at all, even during the loudest parts
of your program.
11. If you’d like to apply some EQ, do so
now and repeat step 9.
12. Repeat for channel 2, if required.
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Hookup Diagrams
Acoustic
Guitar
Condenser
microphone
SRM150 powered
personal monitor
DLM8
Powered
Speaker
Laptop
iPodTM Docking Station
This diagram shows a microphone connected to channel 1's mic input, with the
phantom power switch pressed in. A guitar is attached to the instrument input of
channel 2, with the instrument switch pressed in.
An iPodTM docking station is connected to the line-level inputs of channels 3 and
4, so you can play to a pre-recorded backing track, or play music during the breaks
caused by drinking too many free lattés. You may need two 1/4" to RCA adapters to
make these connections.
The tape outputs are connected to the line-level stereo inputs of a laptop's sound
card. This allows you to record the entire performance using the DAW of your choice.
The mic and guitar are panned mono, so the same mix is coming out of the main
left and right outputs, and each may be used for a monitor or a front-of-house
loudspeaker as follows:
The left and right main mix outputs connect to an SRM150 powered personal
monitor. This is pointed at the performer (the fabulous you). The thru output of
the SRM150 feeds the input of a DLM8 powered loudspeaker playing to your
appreciative, jittery, hopped-up-on-the-bean audience. Jump quickly from one
song to another, and keep the poetry about the Washington State Rain Festival
(Jan 1st–Dec 31st) to a minimum.
Seattle Coffeehouse Gig
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Electric
Guitar
Condenser
microphone
MR8mk3
Studio Monitors
Amplifier
modeler
Analog Synth
Headphones
Main Mix
Level
Main out
Tape out
Main Mix
Meters
Laptop
Assign to Main
Phones
Level
Phones
output
Tape input
Tape Level
This diagram shows a condenser microphone connected to channel 1's mic input,
with the phantom power switch pressed in.
The line-level output from a popular guitar amplifier modeler feeds the line input of
channel 2.
A stereo synth connects to the line inputs of channels 3 and 4.
A laptop computer running the DAW of your choice is connected to the tape input
and output.
A pair of headphones allows you to hear the main mix as you play.
A pair of studio reference monitors is connected to the main mix outputs.
For a recording session example, you can record the vocals, guitar and keyboards.
These can be recorded as individual tracks, and you can listen directly through the
headphones. If you are recording through the mic, listen through the headphones
only, and turn off power to your loudspeakers. (The main mix level still needs to be
up, so you can record the tape out.)
For overdubbing, you will be playing live, and recording a new track onto the
computer through the tape outputs. You can listen to the pre-recorded tracks and your
live playing at the same time in the headphones. Adjust the tape level to find a nice
mix of the playback compared to your playing. If the "assign to main" is out, then the
pre-recorded tracks will not appear in the tape out or main mix, so only your new
playing is recorded.
To playback the recording, adjust the tape level control to hear it in the
headphones. Press "assign to main" in, and slowly bring up the main mix level
to hear the results of all your efforts in the studio monitors.
Recording with a Computer
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Stereo microphone
Headphones
Location
recorder
This diagram shows the outputs of a stereo microphone connected to the mic
inputs of channels 1 and 2. The stereo pan switch is pressed in, so channel 1
goes only to the left of the main mix, and channel 2 goes to the right.
The tape output is connected to a location recording device, with a set of
headphones attached. It is best to keep the headphones on the last device in
your recording chain (the recording device). Many flash-based digital devices
are available.
Set the main mix output level control to unity (U) and use the recorder's own
level control to adjust the levels going to the recorder. Each channel from the
microphone may be adjusted with the channel level controls. Keep them at the
same level to retain the true balance from the microphone.
Location Sound
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Dual DI Box
Synth 2
Synth 1
Headphones
Effects/ Sampler
Stage Snake
Keyboard submix to
front-of-house
mixer
This diagram shows the stereo outputs of a synth connected to the line inputs of
channels 1 and 2. The stereo pan switch is pressed in, so channel 1 only goes to the
left of the main mix, and channel 2 only goes to the right.
Another stereo synth is connected to the line-level inputs of channels 3 and 4.
An effects/sampler is connected to the tape input and tape output. The "assign to
main" switch is pressed in during playback, so the output from the effects/sampler
will appear in the main mix. Leave the switch out when capturing sounds.
The line-level main mix output connects to the inputs of a dual DI box. This converts
the output so it is suitable for connecting to the inputs of a stage snake connected to
the inputs of the front of house mixer.
A pair of headphones allows you to hear the main mix as you play. Between songs,
you can turn down the main output to the FOH mixer, and experiment with sounds
and new patches and still listen in the headphones without upsetting the audience.
Keyboard Submixer
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MR8mk3
Broadcast
Studio Monitors
Microphones
Desktop computer
Laptop running
sound effects
software
Video out
Blu-ray Player
Video Monitor
This diagram shows two voice-over microphones connected to the mic inputs of
channels 1 and 2.
The stereo line-level output from a Blu-ray player connects to the line inputs of
channels 3 and 4.
A laptop running sound effect software is connected to the tape input. The "assign
to main" switch is pressed in, so the sound effects can be added to the main mix.
The tape output connects to the line-level audio input of a desktop computer
running your favorite DAW.
The main outputs feed a pair of powered studio reference monitors.
Video Editing/Production Bay
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MR8mk3 Studio Monitors
TV Set
Condenser
microphone
Amplifier
modeler
Electric
Guitar
Laptop for
recording
Ch.1 and 2
Headphones
video 1
Cable box
DVD Player
video 2
This diagram shows how you can use the mixer to control a home studio and a
home theater, using the same set of loudspeakers. This is useful if you are short on
space, or you are in love with a really nice pair of loudspeakers and want to share
them between your home theater and home studio.
A condenser microphone is connected to channel 1's mic input, with phantom
power engaged. The line-level output from a guitar amplifier modeler feeds the line
input of channel 2.
A laptop computer running the DAW of your choice is connected to the tape output,
so you can record channels 1 and 2.
The stereo line-level audio output from a cable box is connected to the tape inputs,
and the video output from the cable box connects to the TV monitor. If you press
"assign to main," the audio will be added to the main mix.
The stereo line-level audio output from a DVD player is connected to the line inputs
of channels 3 and 4, and the video output connects to the TV monitor.
A pair of headphones allows you to hear the main mix.
To use the home studio, sing and play your guitar, and record using the DAW, or
listen through the nice speakers. Turn down channels 3 and 4, and do not assign the
tape inputs to the main mix from the cable box.
To use the home theater, turn down channels 1 and 2. Select a program using the
cable box, and assign the tape inputs to the main mix. Listen to the audio in your nice
speakers. If you play a DVD, adjust channels 3 and 4, and turn off the "assign to
main" switch. Select the DVD video with your TV set.
Combined Home Studio/Home Theater
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Never plug single-ended
(unbalanced) microphones or
instruments into the mic input
1. Power Switch
Press the top of this rocker switch inwards
to turn on the mixer. The power LED [23] on
the top surface of the mixer will glow with
happiness. 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 power, either turn off the mains
supply, or unplug the power cord from the
mixer and the mains supply.
jacks if the phantom power is on.
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.
Do not use phantom power with
ribbon microphones.
As a general guide, turn on your mixer
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 your speakers.
4. Line Ins (Ch. 1–2)
These inputs 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 audio signal
you’ll come across.
To connect balanced lines to these inputs,
use a 1⁄4" Tip-Ring-Sleeve (TRS) plug.
To connect unbalanced lines to these
inputs, use a 1⁄4" mono (TS) phone plug or
standard instrument cable.
2. Power Connection
Push the 3-pin female side of the power
adaptor securely into the connector on the
rear of the mixer. Plug the other end into
an AC outlet properly configured with the
correct voltage as indicated on the AC
adaptor.
Only use the AC adapter that came with
your mixer, or a factory-authorized power
supply.
These two line inputs are a good place
to connect older instruments that need
more gain. You can correct weak levels by
adjusting the channel’s gain control [7].
3. Mic Ins (Ch. 1–2)
Phantom-powered, balanced Onyx mic
preamps are on every VLZ4 mixer. These
circuits are excellent at rejecting hum and
noise. You can plug in almost any kind of mic
that has a standard XLR male mic connector.
Professional ribbon, dynamic, and
condenser mics will all sound excellent
through these inputs. The 402VLZ4’s mic
inputs will handle any kind of mic level you
can toss at them, without overloading.
5. Low Cut (Ch. 1–2)
Each low-cut switch, often referred to as a
high-pass filter (all depends on how you look
at it), cuts bass frequencies below 100 Hz at
a rate of 18 dB per octave.
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.
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.
Another way to consider low-
cut’s function is that it actually
adds flexibility during live
performances. With the addition of low-cut,
you can safely use low equalization on
vocals. Many times, bass shelving EQ can
really benefit voices. Trouble is, adding low
EQ also boosts stage rumble, mic handling
clunks and breath pops. Applying low-cut
removes all those problems, so you can add
low EQ without blowing a subwoofer.
The phantom power for both channels 1
and 2 is turned on and off together using the
phantom power [20] switch.
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6. Instrument Switch (Ch. 1–2)
“U” Like Unity Gain
When this switch is pressed in,
channel 1 or 2's line input can accept
direct instrument-level signals from guitars
or other instruments. They will be
impedance-matched to the line input,
without the need for a DI box.
When this switch is out, you can connect
line-level sources such as CD players, MP3
players, keyboards, drum machines and
more. You will need a DI box if connecting
instrument-level signals to the inputs of
channel 3 and 4.
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 adjusted the input signal
to line-level, 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 level 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.
2-Band Equalization
Direct-In (DI) boxes are commonly
available from most music stores.
The 402VLZ4 has 2-band equalization at
carefully selected points — low shelving at
80 Hz, and hi shelving at 12 kHz. “Shelving”
means that the circuitry boosts or cuts all
frequencies past the specified frequency.
For example, rotating the low EQ knob 15 dB
to the right boosts bass starting at 80 Hz and
continuing down to the lowest note you
never heard.
They provide signal and
impedance matching for the direct
connection of guitars and other instruments
to amplifiers and mixers. They convert
unbalanced instrument-level signals to a
balanced mic-level output. Normally, they
just look like a funny little box with a 1/4" TS
input at one end, and an XLR output at the
other. The good thing is that you do not need
them with the 402VLZ4.
With EQ, you can also screw things
up royally. We’ve designed a lot of
boost and cut into each equalizer
7. Gain (Ch. 1–2)
circuit, because we know everyone will
occasionally need that. But if you max the
EQs 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).
Very few gold-record-album engineers ever
use more than about 3 dB of EQ. If you need
more than that, there’s usually a better way
to get it, such as placing a mic differently
(or using a different kind of mic entirely).
If you haven’t already,
please read the 'Getting
Started' section on page 5.
Gain adjusts the input
sensitivity of the mic and
line inputs connected to
channels 1 and 2. This allows signals from
the outside world to be adjusted to optimal
internal operating levels.
If the signal comes through the XLR jack,
there will be 0 dB of gain with the knob fully
down, ramping to 60 dB of gain fully up.
8. Hi EQ
This control
gives you up to
15 dB boost or
cut above 12 kHz,
and it is also flat
at the center. Use
it to add sizzle
+15
+10
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 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.
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Hi EQ
to cymbals, and
an overall sense of transparency, or edge to
keyboards, vocals, guitar and bacon frying.
Turn it down a little to reduce sibilance,
or to hide tape hiss.
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9. Low EQ
11. Level
This control
gives you up to
+15
+10
This adjusts the channel’s level from off,
to unity gain at the center, on up to 12 dB of
additional gain. Once the gain [7] has been
adjusted for each channel, use the level to
adjust how much of each channel appears in
the main mix.
+5
0
15 dB boost or cut
below 80 Hz.
The circuit is flat
(no boost or cut) at
the center position.
This frequency
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Low EQ
Channels 1 and 2 use mono level controls,
and channels 3 and 4 uses a stereo control.
+15
+10
range represents
the punch in bass
drums, bass guitar,
fat synth patches,
and some really
serious male singers.
Used in conjunction with the low cut [5]
switch, you can boost the low EQ without
injecting a ton of subsonic debris into the
mix.
+5
0
12. OL LED
–5
–10
–15
This overload LED will illuminate if the
input signal is too high. The signal level is
measured just before the level control, but
after the gain control and EQ.
If the OL LED does illuminate, turn down
the gain and/or the EQ controls until this
will only illuminate occasionally when the
input source is running high. Turning the
level control will not affect the OL LED.
20Hz
100Hz
1kHz
10kHz 20kHz
Low EQ with Low Cut
10. Stereo Pan Switch (Ch. 1–2)
With this switch out, each mono channel
feeds both the left and right sides of the
main mix equally. For example:
• Playing a mono source: If you talk into
a microphone connected to input 1,
your sweet tones will be heard in both
the left and right loudspeakers.
13. Main Outs
These outputs feed the main mix out into
the waiting world. They can be connected
to the line-level inputs of power amplifiers,
powered speakers, or to the line inputs of
another mixer.
To use these outputs to drive balanced
inputs, connect 1⁄4" TRS (Tip–Ring–Sleeve)
phone plugs like this:
Tip = + (hot)
Ring = –(cold)
Sleeve = Ground
• Overdubbing a mono source: if you
are monitoring directly through the
headphones, you can hear the overdub
signal in both ears while you are
playing.
With this switch pressed in, channel 1
will play only in the left side of the main mix,
and channel 2 will play in the right side.
For example:
• Recording a stereo source: If you have
a stereo microphone connected to
the mic inputs, or if you are playing a
stereo source into the line inputs, each
side of the source can be recorded
discretely onto a recorder connected
to the main or tape outputs.
For most music recording and PA
applications, unbalanced lines are fine.
To drive unbalanced inputs, connect
1⁄4" TS (Tip–Sleeve) phone plugs like this:
Tip = + (hot)
Sleeve = Ground
The pan switch does not affect channels
3 or 4, or the tape inputs.
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14. Stereo Line Ins (Ch. 3–4)
17. Tape In
These fully-balanced inputs are designed
for stereo or mono, balanced or unbalanced
signals. They can be used with just about any
professional or semi-pro instrument, effect
or CD player.
Signals entering channel 3 are added to
the left side of the main mix only. Signals
entering channel 4 are added to the right.
When connecting a mono device, always
use the left (mono) input (ch. 3) and plug
nothing into the right input (ch. 4)— this
way the signal will appear on both sides.
This trick is called “jack normalling.”
These dual, unbalanced RCA inputs
accept line-level stereo signals. The signals
entering the inputs are always routed to the
phones output, and can be routed to the
main output, depending on the position of
the “assign to main” button.
Use these jacks for convenient playback of
your mixes. You’ll be able to review a mix and
then try another pass without repatching
or disturbing the mixer levels. You can also
use these jacks with an iPod dock, computer
line-level audio output, or DVD player to
feed music to a PA system between sets.
Use the "assign to main" switch [15] to
add the tape input to the main mix, and use
the tape level knob [16] to adjust its level.
15. Tape Assign to Main
Press this switch in to add the tape input
to the main mix.
Press it out if you do not want the tape
input to play in the main mix. This allows
DJ-style cueing of the tape input [17] in
your headphones before it is added to the
main mix for your audience.
18. Tape Out
These unbalanced RCA connections tap
the main mix output to make simultaneous
recording and PA work more convenient.
Connect these to your recorder’s inputs.
The output here is an unbalanced copy of
the main mix, and it is affected by the main
mix level [22].
Main Mix
Level
Main out
Main Mix
Meters
Tape out
Assign to Main
Phones
Level
Phones
output
19. Phones
This stereo jack will drive any standard
headphone to very loud levels. Ear buds or
computer headphones may also be used with
an appropriate adapter.
If you’re wiring your own cable for
the headphones output, follow standard
conventions:
Tape input
Tape Level
This also allows for overdubbing with the
tape inputs/outputs without experiencing
feedback, and it maintains isolation of your
audio tracks. For example, you could be
feeding the pre-recorded tracks from a
computer into the tape inputs. Leave
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
"assign to main" out so you can hear the
pre-recorded tracks in the headphones,
as you play along to them. Only your live
performance will be recorded from the tape
outputs, not the pre-recorded tracks. Press
"assign to main" in if you want to play the
completed songs in your main loudspeakers.
In the headphones, you will hear the main
mix as well as any source playing in the
tape inputs [17]. Adjust the phones level
[21] knob for comfortable and safe listening
levels in your headphones. See the warning
on the next page before using headphones.
16. Tape Level
Use this to adjust the level of the
tape input playing in the main mix
and headphones.
Adjusting the main mix level [22] will
not affect the headphone output. Adjusting
the tape level [16] will affect the level of the
tape input signal heard in the headphones.
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20. Phantom Power Switch
23. Power LED
This global switch controls the phantom
power supply for condenser microphones
plugged into channel 1 and 2 mic [3] inputs.
Press this in if your microphone requires
phantom power. (The mixer can supply
the microphone's power through the XLR
connectors, using the same lines used for
the audio.) Check with the microphone
manufacturer if you are not sure. See the
phantom power discussion on page 13
before using this switch.
This LED will illuminate when the mixer
is turned on. It shows a general readiness of
the mixer to do something wonderful to your
musical world.
If the power switch [1] is off, or the power
to the unit is turned off, then the LED will
be off.
24. Meters
The 402VLZ4’s peak metering system
is made up of two columns of eight LEDs.
It displays the signal level after the main
mix level control [22].
Thanks to the 402VLZ4’s wide dynamic
range, you can get a good mix with peaks
flashing anywhere between –12 and +8 dB
on the meters. 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 “+8”.
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).
Press the switch in to engage phantom
power to both mic inputs. The LED next to
the switch will illuminate when phantom is
engaged. Press the switch again to turn it off.
21. Phones Level
This knob allows you to adjust the level of
the signals going to the headphones.
WARNING: When we say the
headphone amp is loud, we’re not
kidding. It can cause permanent
ear damage. Even intermediate levels may
be painfully loud with some headphones.
BE CAREFUL! Always turn the phones
knob all the way down before connecting
headphones, or making any connections to
the mixer. Keep it down until you’ve put the
phones on. Then turn it up slowly.
Congratulations! You’ve just read
about all the features of the 402VLZ4. You’re
probably ready for a cold shower. Go ahead.
22. Main Mix
This knob controls the levels of signals
sent to the main outputs. All channels that
are not turned fully down will wind up in the
main mix.
Fully counterclockwise is off, the center
is unity gain, and fully clockwise provides
12 dB of additional gain. This additional
gain will typically never be needed, but once
again, it’s nice to know it’s there.
This is the knob to turn down at the end
of the song to achieve "The Great Fade-Out."
17
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Appendix A: Service Information
If you think your 402VLZ4 has a
problem, please check out the following
Noise
• Turn the channel level knobs down,
troubleshooting tips and do your best to
confirm the problem. Visit the support
section of our website (www.720trees.com)
where 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.
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 on the mixer should
come on when the power switch is on.
Check that the power connection to
the mixer is plugged in.
Bad Channel
• Is the gain set correctly?
Repair
• Is the level knob turned up?
• Is the instrument switch set correctly?
(Channels 1–2 only).
For warranty service, refer to the warranty
information on page 23.
• Try the same source signal in another
channel, set up exactly like the
suspect channel.
Non-warranty service is available
at a factory-authorized service center.
To locate the nearest service center, visit
Support” and select “Locate a Service Center
or Distributor” [3]. Service for a 402VLZ4
living outside the United States may be ob-
tained through local dealers or distributors.
• Check that the stereo pan switch is
set correctly.
• Check the EQ and the low-cut switch.
Bad Output
• Is the associated level knob (if any)
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.
• If it’s a left main out, try unplugging
the RCA left tape output. If the
problem goes away, its not the mixer.
• If a left speaker is presumed dead,
switch the left and right cords, at the
mixer's main outs. If the left speaker
is still not working, it’s not the mixer.
Need help with your mixer?
•
addendums, and other documents.
•
•
Email us at: [email protected].
Telephone 1-800-898-3211 to speak with one of our splendid technical support
representatives (Monday-Friday, during normal business hours, Pacific Time).
18
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Appendix B: Connections
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.
Balanced XLR Input Connector
The 402VLZ4 mixer has two female XLR
inputs. Be sure the cables are wired per AES
(Audio Engineering Society) standards:
Balanced XLR Input Connector
Pin 1 – Shield (Ground)
Pin 2 – Positive (+ or hot)
Pin 3 – Negative ( – or cold)
Unbalanced 1/4" TS Connector
TS stands for Tip-Sleeve, the two
connections available on a mono 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:
2
SHIELD
HOT
1
3
COLD
SHIELD
COLD
HOT
1
Unbalanced 1/4" TS Connector
3
2
Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
Balanced XLR Input Connector
SLEEVE
SLEEVE
TIP
Balanced 1/4" TRS Connector
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
SLEEVE
Unbalanced 1/4" TS Connector
TS jacks and plugs are used in many dif-
ferent 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
• Electric guitars and electronic
instruments
RING SLEEVE
SLEEVE RINGTIP
TIP
• Unbalanced line-level connections
RING
TIP
SLEEVE
Unbalanced RCA Connector
Balanced 1/4" TRS Connector
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
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).
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:
Unbalanced RCA Connector
• Stereo headphones, and rarely,
stereo microphones and stereo
line connections.
Sleeve – Shield (Ground)
Tip – Positive (+ or hot)
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 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.
SLEEVE
TIP
SLEEVE
TIP
Unbalanced RCA Connector
19
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Appendix C: Technical Information
Specifications
Maximum Levels
Main Mix Noise
Mic in:
Tape in:
All other inputs:
All outputs:
+21 dBu
+24 dBu
+22 dBu
+22 dBu
(20 Hz–20 kHz bandwidth, 1/4" main out,
channels 1–2 gain @ unity, channel EQs flat,
stereo-pan button in.
Main mix knob down, channel level knobs
down:
Main mix knob unity, channel level knobs
down: –98 dBu
–103 dBu
Impedances
Mic in:
Instrument input:
All other inputs:
Tape out:
Phones output:
All other outputs:
2.55 k
1 M
10 k or greater
1.0 k
60
(102 dB Signal to Noise Ratio, ref +4 dBu)
Main mix knob @ unity, and channel level
knobs @ unity:
–92 dBu
Total Harmonic Distortion (THD)
(1 kHz @ 35 dB gain)
120
20 Hz–80 kHz bandwidth <0.005%
20 Hz–20 kHz bandwidth <0.003%
EQ
High Shelving
Low Shelving
15 dB @ 12 kHz
15 dB @ 80 Hz
Attenuation (Crosstalk)
(1 kHz relative to 0 dBu, 20 Hz–20 kHz
bandwidth, line in, 1⁄4" main out, gain @ unity.)
Power Consumption
8 watts
Main mix knob down: –70 dBu
Channel level knob down:
–94 dBu
(H x W x D)
7.3" x 5.8" x 1.6"
(186 mm x 147 mm x 41 mm)
Frequency Response
Mic Input to Main Output (Gain @Unity)
+0, –1 dB, 20 Hz to 50 kHz
Weight
+0, –3 dB, <10 Hz to >100 kHz
With power supply
3.0 lb (1.36 kg)
Without power supply 2.5 lb (1.1 kg)
Equivalent Input Noise (EIN)
Since we are always striving to make
our products better by incorporating new
and improved materials, components, and
manufacturing methods, we reserve the right
to change these specifications at any time
without notice.
(Mic in to main out, max gain.)
150 termination:
–128.5 dBu
20 Hz–20 kHz
Common Mode Rejection Ratio (CMRR)
1 kHz:
better than –70 dB
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.
©2014 LOUD Technologies Inc. All Rights
Reserved.
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household
waste, according to the WEEE Directive (2012/19/EU) and your national law. This product should be handed over to an au-
thorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste
could have a possible negative impact on the environment and human health due to potentially hazardous substances that are
generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the
effective usage of natural resources. For more information about where you can drop off your waste equipment for recycling,
please contact your local city office, waste authority, or your household waste disposal service.
20
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BlockDiagram
R
R
L
n
M a i
n
M a i
L
21
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Dimensions
1.6 in /
41 mm
WEIGHT
2.5 lb /
1.1 kg
7.3 in /
186 mm
Microphone Stand
The bottom panel of the 402VLZ4 has
three non-threaded holes that allow it to be
fitted with an optional microphone stand
adapter. This lets you support the mixer on
a standard mic stand, and adjust its height
and level to whatever suits your strangely-
complex set of preferences.
5.8 in / 147 mm
1. Order the Atlas AD-11B mic stand
adapter available from many a fine
music store. (It is made and
distributed by Atlas Sound.)
2. Use three Trilobular thread rolling
screws 6-32 x 1/4" long to secure the
adapter to the bottom of the 402VLZ4
[see below].
Do not use screws longer than 1/4",
as these could damage the circuit
boards. Do not use screws shorter
than 1/4", or the adapter will not be
securely fixed to the mixer.
3. Do not order the Atlas AD-11, as this
is a pack of 100. If you do, please send
for the informative booklet entitled 99
things to do with a mic stand adapter.
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402VLZ4 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
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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