VLZ3

Patchbay Description

1402-

 

 

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

1

 

 

 

 

 

 

 

 

 

 

 

 

2

 

 

BAL

 

 

BAL

 

 

BAL

 

 

BAL

 

 

OR

 

 

OR

 

 

OR

 

 

OR

 

 

UNBAL

 

 

UNBAL

 

 

UNBAL

 

 

UNBAL

LINE IN 1

LINE IN 2

LINE IN 3

LINE IN 4

3

 

 

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

 

 

U

IC GAI

U

IC GAI

U

IC GAI

U

IC GAI

M

N

M

N

M

N

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 GAI

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 GAI

U

M

N

 

LEFT/MONO RIGHT

ALL BAL/UNBAL

TAPE

TAPE

BAL/UNBAL

1

1

INPUT

OUTPUT

L

 

L

 

L

 

2

2

 

 

R

 

R

 

R

 

 

AUX SEND

 

 

MAIN OUT

MONO

MONO

MONO

MONO

L

L

 

L

L

BAL

BAL

 

BAL

BAL

OR

OR

 

OR

OR

5UNBAL

UNBAL

 

UNBAL

UNBAL

R

R

 

R

R

4

0

60

0

60

0

60

0

60

+15dB -45dB

+15dB -45dB

+15dB -45dB

+15dB -45dB

GAIN

GAIN

GAIN

GAIN

 

 

 

 

 

LEVEL

LEVEL

LEVEL

LEVEL

0

60

0

60

 

+4

+4

+4

+4

 

-10

-10

-10

-10

+15dB -45dB

+15dB -45dB

6

GAIN

GAIN

 

LINE IN 9-10

LINE IN 11-12

LINE IN 13-14

LINE IN 7-8

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: a tape recorder, PA system, etc.

See Appendix B for further details and drawings of the connectors you can use with the 1402-VLZ3. Also see the Channel Strip description on page 13 for details of the signal routing from the XLR and Line inputs.

1. MIC INPUTS (Channels 1–6)

We use phantom-powered, balanced microphone inputs just like the big studio mega-consoles, for exactly the same reason: This kind of circuit is­excellent 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

1402-VLZ3’s mic inputs will handle any kind of mic level you can toss at them, without overloading. Be sure to perform the Level-Setting Procedure on page 3.

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 lnstrument-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 and high-frequency signal loss. Ask your dealer or guitar maker about their recommendations for a good DI box.

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.

The 1402-VLZ3’s phantom power is globally controlled by the PHANTOM switch on the rear panel. (This means the phantom power for channels 1-6 is turned on and off together.)

Never plug single-ended (unbalanced) micro­

phones or instruments into the MIC input

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.

2. LINE INPUTS (Channels 1–6)

These six line 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 signal you’ll come across, from instrument levels as low as –40 dB to operating levels of –10 dBV to +4 dBu, since there is 40 dB more gain available than on channels 7–14.

To connect balanced lines to these inputs, use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, the type found on­stereo headphones.

To connect unbalanced lines to these inputs, use a 1⁄4" mono (TS) phone plug or standard instrument cable.

LINE IN inputs 1–6 are a good place to connect older instruments that need more gain. You can correct weak levels by adjusting the corresponding channel’s GAIN control.

1402-VLZ3