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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.
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.
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.
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.
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 phantom power for both channels 1
and 2 is turned on and off together using the
phantom power [20] switch.
Never plug single-ended
(unbalanced) microphones 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.
Do not use phantom power with
ribbon microphones.
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.
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].
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.
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.
Owner's Manual
13
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