1402-VLZ PRO PATCHBAY DESCRIPTION

At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, head- phones, and the ultimate destination for your sound: a tape recorder, PA system, etc.

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 is excellent at rejecting hum and noise. You can plug in almost any kind of mic that has a standard XLR-type male mic connector. To learn how signals are routed from these inputs: . If you wire your own, connect them like this:

SHIELD 2

HOT

COLD 3 1

SHIELD 1

COLD 3 2

HOT

1SHIELD

3COLD

Professional ribbon, dynamic and condenser mics will all sound excellent through these in- puts. The 1402-VLZ PRO’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:.

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-VLZ PRO’s phantom power is globally controlled by the PHANTOM switch on the rear panel.

Never plug single-ended (unbalanced) microphones or instruments into the MIC IN jacks if the PHANTOM power is on.

2

Pin 1 = Ground or shield Pin 2 = Positive (+ or hot) Pin 3 = Negative (– or cold)

HOT

Do not plug instrument outputs into the MIC IN jacks with PHANTOM power on unless you know for certain it is safe to do so.

MIC 1

DR

MI

C P

X

 

RE

MIC 2

DR

MI

C P

X

 

RE

MIC 3

DR

MI

C P

X

 

RE

MIC 4

DR

MI

C P

X

 

RE

MIC 5

DR

MI

C P

X

 

RE

MIC 6

DR

MI

C P

X

 

RE

LEFT/MONO

RIGHT

ALL BAL/UNBAL

TAPE

TAPE

BAL/UNBAL

 

1

1

INPUT

OUTPUT

L

 

 

 

L

 

 

 

2

2

 

 

R

 

 

 

R

 

 

 

 

BAL

 

 

BAL

 

 

BAL

 

 

BAL

 

 

BAL

 

 

BAL

 

 

OR

 

 

OR

 

 

OR

 

 

OR

 

 

OR

 

 

OR

 

 

UNBAL

 

 

UNBAL

 

 

UNBAL

 

 

UNBAL

 

 

UNBAL

 

 

UNBAL

LINE IN 1

LINE IN 2

LINE IN 3

LINE IN 4

LINE IN 5

LINE IN 6

 

 

LOW CUT

 

 

LOW CUT

 

 

LOW CUT

 

 

LOW CUT

 

 

LOW CUT

 

 

LOW CUT

 

 

75 Hz

 

 

75 Hz

 

 

75 Hz

 

 

75 Hz

 

 

75 Hz

 

 

75 Hz

 

 

18dB/OCT

 

 

18dB/OCT

 

 

18dB/OCT

 

 

18dB/OCT

 

 

18dB/OCT

 

 

18dB/OCT

 

-10dBV

 

-10dBV

 

-10dBV

 

-10dBV

 

-10dBV

 

-10dBV

U

IC GAI

U

IC GAI

U

IC GAI

U

IC GAI

U

IC GAI

U

IC GAI

M

N

M

N

M

N

M

N

M

N

M

N

 

0

60

 

0

60

 

0

60

 

0

60

 

0

60

 

0

60

+15dB

-45dB

+15dB

-45dB

+15dB

-45dB

+15dB

-45dB

+15dB

-45dB

+15dB

-45dB

 

TRIM

 

TRIM

 

TRIM

 

TRIM

 

TRIM

 

TRIM

STEREO AUX RETURN AUXSEND

 

MAIN OUT

MONO

MONO

MONO

MONO

L

L

L

L

BAL

BAL

BAL

BAL

OR

OR

OR

OR

UNBAL

UNBAL

UNBAL

UNBAL

R

R

R

R

LEVEL

LEVEL

LEVEL

LEVEL

+4

+4

+4

+4

-10

-10

-10

-10

LINE IN 7–8

LINE IN 9–10

LINE IN 11–12

LINE IN 13–14

10