MIC 1

DR

MI

C P

RE

X

 

 

MIC 2

DR

MI

C P

X

 

RE

MIC 3

DR

MI

C P

X

 

RE

MIC 4

DR MIC P

RE

X

MIC 5

DR

MI

C P

X

 

RE

MIC 6

DR

MI

C P

RE

X

 

 

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

 

d

 

d

 

d

 

d

 

d

 

-10

d

 

-10

BV

 

-10

BV

 

-10

BV

 

-10

BV

 

-10

BV

 

BV

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

STEREO LINE INPUTS (Channels 7–8, 9–10, 11–12 and 13–14)

These fully balanced inputs are designed for stereo or mono, balanced or unbalanced sig- nals, from –10dBV to +4dBu. They can be used with just about any professional or semi-pro in- strument, effect or tape player. To learn how signals are routed from these inputs: . To wire your own cables: .

In the stereo audio world, an odd-numbered channel usually receives the “left signal.” For example, you would feed the 1402-VLZ PRO’s line inputs 7–8 a stereo signal by inserting the device’s left output plug into the Channel 7 jack, and its right output plug into the Channel 8 jack.

When connecting a mono device (just one cord), always use the Left (MONO) input and plug nothing into the Right input — this way the signal will appear on both sides. This trick is called “jack normalling” .

EFFECTS: SERIAL OR

PARALLEL?

The next two sections tossthe terms “serial” and “paral- lel” around like hacky sacks. Here’s what we mean by them.

“Serial” means that the entire signal is routed through the effects device. Examples: compressor/limiters, graphic equalizers. Line- level sources can be patched through a serial effects device before or after the mixer or, more conveniently, through the channel insert jacks located on the rear of the mixer (INSERT SEND/RETURN).

“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 (AUX 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. (See diagrams below.)

Serial

Insert Send

Signal Processor

Insert Return

 

Serial Device
Dry Signal(e.g. Compressor)

Processed

 

 

Signal

Parallel

Aux Send

Signal Processor

Aux Return

Output Section

 

Parallel Device

 

Wet Signal

 

(e.g. Reverb)

 

Processed

 

Channel Path

Signal

 

Mix Stage
Dry Signal(s)

Dry Signal(s)

12