1402-VLZ3

MICMI

1

MICMI

2

MICMI

3

MICMI

4

DR

C P

DR

C P

DR

C P

DR

C P

X

 

RE

X

 

RE

X

 

RE

X

 

RE

 

 

BAL

 

 

BAL

 

 

BAL

 

 

BAL

 

 

OR

 

 

OR

 

 

OR

 

 

OR

 

 

UNBAL

 

 

UNBAL

 

 

UNBAL

 

 

UNBAL

LINE IN 1

LINE IN 2

LINE IN 3

LINE IN 4

 

 

LOW CUT

 

 

LOW CUT

 

 

LOW CUT

 

 

LOW CUT

 

 

75 Hz

 

 

75 Hz

 

 

75 Hz

 

 

75 Hz

 

 

18dB/OCT

 

 

18dB/OCT

 

 

18dB/OCT

 

 

18dB/OCT

 

-10

d

 

-10

d

 

-10dBV

 

-10dBV

 

BV

 

BV

 

 

 

IC GAI

 

IC GAI

 

IC GAI

 

IC GAI

U

M

N

U

M

N

U

M

N

U

M

N

 

 

 

 

MICM

5

DR

I

C P

X

 

 

RE

BAL

OR

UNBAL

LINE IN 5

 

 

LOW CUT

 

 

 

75 Hz

 

 

18dB/OCT

 

-10

d

 

 

BV

 

IC

G

 

 

AI

U

M

 

N

 

 

MICM

6

DR

I

C P

X

 

 

RE

BAL

OR

UNBAL

LINE IN 6

 

 

LOW CUT

 

 

 

75 Hz

 

 

18dB/OCT

 

-10

d

 

 

BV

 

IC

G

 

 

AI

U

M

 

N

 

 

1

8

1

INPUT9

OUTPUT10

11L

 

LEFT/MONO7RIGHT

ALL BAL/UNBAL

TAPE

TAPE

BAL/UNBAL

 

7

 

L

 

L

 

 

 

R

 

R

R

 

2

 

2

 

 

 

 

AUX SEND

 

 

MAIN OUT

 

MONO

MONO

 

MONO

MONO

 

L

L

 

 

L

L

12

BAL

BAL

 

 

BAL

BAL

OR

OR

 

 

OR

OR

 

UNBAL

UNBAL

 

 

UNBAL

UNBAL

 

R

R

 

 

R

R

 

 

 

 

 

 

 

 

 

 

 

 

 

LEVEL

LEVEL

LEVEL

LEVEL

0

60

0

60

0

60

0

60

0

60

0

60

+4

+4

+4

+4

-10

-10

-10

-10

+15dB -45dB

+15dB -45dB

+15dB -45dB

+15dB -45dB

+15dB -45dB

+15dB -45dB

GAIN

GAIN

GAIN

GAIN

GAIN

GAIN

LINE IN 7-8

LINE IN 9-10

LINE IN 11-12

LINE IN 13-14

7. STEREO RETURNS

This is where you connect the outputs of your parallel effects devices (or extra audio sources). These balanced inputs are similar to the stereo LINE IN [2] inputs (without EQ, Aux Sends, Pan, Mute, and Solo). The circuits will handle stereo or mono, balanced or unbalanced signals, either instrument level, –10 dBV or +4 dBu. They can be used with just about any pro or semipro effects device on the market. The signals coming into these inputs can be adjusted using the STEREO RETURN [41] knobs before passing onto the main mix bus (see page 18).

One Device: If you have just one parallel effects device (two cords), use STEREO RETURN 1 left and right, and leave RETURN 2 unplugged. That way, the unused RETURN 2 level control can be used to feed RETURN 1 to your stage monitors, via the RETURN TO AUX 1 [42] switch.

Mono Device: If you have an effects device with a mono output (one cord), plug that into STEREO RETURN 1 left/mono, and leave the right unplugged. The signal will be sent to both sides, magically appearing in the center as a mono signal. This won’t work with STEREO RETURN 2 — you’ll need a Y-cord.

Use these jacks for convenient tape playback of your mixes. You’ll be able to review a mix, then rewind and try another pass, without repatching or disturbing the mixer levels. You can also use these with a tape or CD player to feed music to a PA system between sets.

WARNING: Engaging both the TAPE and

­ASSIGN TO MAIN MIX buttons in the CONTROL ROOM SOURCE [33] matrix can create

a feedback path between TAPE INPUT and TAPE OUT- PUT. Make sure your tape deck is not in record, record- pause, or input monitor mode when you engage these switches, or make sure the CONTROL ROOM / SUBMIX fader [34] is fully down (off).

10. TAPE OUTPUT

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. (See also MAIN MIX [32] on page 16.)

Mono Out: If you want to feed a mono signal to your tape deck or other device, simply use an RCA Y-cord to combine these outputs. Do not attempt this with any other outputs on the 1402-VLZ3.

10

8. AUX SEND 1&2

The AUX SEND [31] knobs in the channel sections tap a portion of each channel's signal to provide an output here to feed external parallel effects processors or stage monitoring. See the AUX SEND details on page 15.

These 1⁄4" jacks are also balanced outputs capable of delivering 22 dBu into a 600 ohm balanced or unbalanced load.

9. TAPE INPUT

These RCA jacks are designed to work with semipro as well as pro recorders. To compensate for typically low levels, signals coming in here will be automatically boosted by 6 dB.

Connect your tape recorder’s outputs here, using good quality hi-fi (RCA) cables.

1402-VLZ3

11. 1⁄4" MAIN OUTS

These outputs feed the main mix out into the waiting world. You can feed your amplifiers this way, or through the XLR MAIN OUTS [13].

These balanced outputs are capable of delivering 22 dBu into a 600 ohm balanced or unbalanced load.

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

For most music recording and PA applications, unbalanced lines are perfectly acceptable. To use these outputs to drive unbalanced inputs, connect 1⁄4" TS (Tip-Sleeve) phone plugs like this:

Tip = + (hot) Sleeve = Ground