Mackie VLZ3 4BUS Manuale Utente

Owner's Manual   

19

The high EQ provides up to 

15 dB of boost or cut above 
12 kHz, and it is also flat (no 
boost or cut) at the detent. 
Use it to add sizzle to cymbals, 
an overall sense of  
transparency, or an edge to 
keyboards, vocals, guitar and bacon frying. Turn it down 
a little to reduce sibilance or to mask tape hiss.

The mono channels employ 

a semi-parametric mid-sweep 
EQ. The gain (up to 15 dB of 
boost or cut) is set via the mid 
eq [32], and then "aimed" at a 
specific frequency, from    
100 Hz to 8 kHz, via freq [33].

The low EQ provides up to 

15 dB of boost or cut below 
80 Hz. The circuit is flat at 
the center detent position. 
This frequency represents the 
punch in bass drums, bass 
guitar, fat synth patches, and 
some really serious male singers who eat raw beef for 
breakfast.

The high mid EQ provides 

up to 15 dB of boost or cut 
at 2.5 kHz, and it is flat at 
the detent. Midrange EQ is 
often thought of as the most 
dynamic because the  
frequencies that define any 
particular sound are almost always found within this 
range. For example, the female vocal range as well 
as the fundamentals and harmonics of many  

 

higher-timbred instruments.

The low mid EQ provides up 

to 15 dB of boost or cut at  
400 Hz, and is flat at the 
detent. Frequencies affected 
typically include the male 
vocal range as well as the 
fundamentals and harmonics 
of many lower-timbred instruments.

This control allows you to adjust 

how much of the channel signal is sent 
to the left versus the right outputs.

With the knob panned hard left, the 

signal feeds the main left, group 1, or 
group 3 busses, depending on the   
setting of the assign switches [42]. 
With the knob panned hard right, the 
signal feeds the main right, group 2, 
or group 4 busses, again dependent on 
the setting of the assign switches [42].

The pan control employs a design 

called “Constant Loudness.” If you 
have a channel panned hard left (or 
right) and then pan to the center, 
the signal is attenuated about 3 dB to 
maintain the same apparent loudness. 
Otherwise, it would make the sound 
appear much louder when panned 
center. This control is properly called 
"BAL" for balance in the stereo  
channels.

Mute switches do just what they 

sound like they do. They turn off the 
signal by “routing” it into oblivion. 
Engaging a channel's mute switch 
(almost) provides the same results 
as turning the fader all the way down 
(a pre-aux send is not affected by the 
channel fader, but it is by the mute 
switch). Any channel assignments 
to main mix, group 1-2, or group 3-4 
will be interrupted and all of the aux 
sends will be silenced (both pre- and 
post-fader). The channel insert [3] 
will continue to provide a signal when 
a channel is muted. The OL LED [39] 
will illuminate when a channel's mute 
switch is engaged.

This LED indicates the channel’s 

signal level after the gain and EQ 
controls, but just before the channel’s 
level. So even if the level is turned 
down, you can see if the channel is 
being overloaded.