Mackie VLZ3 4BUS Manuale Utente

16

   VLZ3 4•Bus

0

60

-45dB

+15dB

U

MIC

 GAIN

-10 dBV

MIC

 GAIN

0

60

-45dB

+15dB

U

MIC

 GAIN

-10 dBV

MIC

 GAIN

0

60

-45dB

+15dB

U

MIC

 GAIN

-10 dBV

MIC

 GAIN

0

60

-45dB

+15dB

U

MIC

 GAIN

-10 dBV

MIC

 GAIN

0

60

-45dB

+15dB

U

MIC

 GAIN

-10 dBV

MIC

 GAIN

The vertical channel strips look very similar, and  

have only a few differences between them. Each  
channel works independently, and just controls the 
signals plugged into the inputs directly behind it.

Mackie mixers have a “U” symbol on almost every level 

control. It stands for “unity gain,” meaning no change in 
signal level. The labels on the controls are measured in 
decibels (dB), so you’ll know what you’re doing  
level-wise if you choose to change a control’s settings.

If you haven’t already, please read the level-setting 

procedure on page 3. 

The gain knobs adjust the input sensitivity of the mic 

and line inputs. This allows signals from the outside 
world to be adjusted to run through each channel at 
optimal internal operating levels. 

If the signal originates through the mic XLR jack, 

there will be 0 dB of gain with the knob fully down, 
ramping to 60 dB of gain fully up.

Through the 1⁄4" line input of channels 1-20 (2404-

VLZ3) and channels 1-28 (3204-VLZ3), there is 15 dB of 
attenuation fully down and 45 dB of gain fully up, with 
unity gain "U" at 10:00. 

Through the 1⁄4" line input of channels 21/22 and 

23/24 (2404-VLZ3) and 29/30 and 31/32 (3204-VLZ3), 
there is 20 dB of  attenuation fully down and 20 dB of 
gain fully up, with unity gain "U" at 12:00. 

This 20 dB of  attenuation can be very handy when you 

are  inserting a hot signal, or when you want to add EQ 
gain, or both. Without this  “virtual pad,” there is more 
chance of channel clipping.

All mono channels have a low-cut switch (often  

referred to as a high-pass filter) that 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 from way-down low. 
Applying low-cut  removes all those problems, so you can 
add low EQ without blowing your subwoofers.

In most cases, the pad switch will be disengaged. 

However, microphones and balanced line-level signals 
that produce a higher output than usual may require 
that the gain control [23] is turned way down. If this is 
the case, engage the pad switch to allow an additional 
20 dB at the input to the mic preamp. This prevents 
overloading the microphone preamp and provides better 
gain control. The pad only applies to XLR inputs, not the 
1/4" TRS inputs.