Mackie VLZ3 4BUS Manuale Utente
26
VLZ3 4•Bus
68. MONITOR LEVEL
This knob is used to adjust the volume at the monitor
output [15, 16], from off to maximum gain (max).
69. PHONES LEVEL
This knob is used to adjust the volume at the phones
output [17], from off to maximum gain (max). If solo
is not active, the monitor, phones and meter are fed the
post-fader main mix signal.
is not active, the monitor, phones and meter are fed the
post-fader main mix signal.
WARNING: The headphone amp is loud, and
can cause permanent hearing damage. Even
intermediate levels may be painfully loud
can cause permanent hearing damage. Even
intermediate levels may be painfully loud
with some headphones. BE CAREFUL! Always turn this
control all the way down before connecting headphones,
or pressing a solo switch [41, 49, 53, 55, 73], or doing
anything new that may affect the headphone volume.
Then turn it up slowly as you listen carefully.
control all the way down before connecting headphones,
or pressing a solo switch [41, 49, 53, 55, 73], or doing
anything new that may affect the headphone volume.
Then turn it up slowly as you listen carefully.
70. TALKBACK LEVEL
Use this knob to control the level of the talkback
signal being routed to the main mix or aux 1-4 outputs,
from the internal microphone.
from the internal microphone.
1. Start with this control turned down.
2. Select the destination, either main mix and/or
2. Select the destination, either main mix and/or
aux 1-4 [71], and make sure that their levels
are already set nicely, using the main mix fader
[75] or aux masters [52].
are already set nicely, using the main mix fader
[75] or aux masters [52].
3. Slowly turn this control up until you get
confirmation from whoever is listening that
they can hear and obey your every command.
they can hear and obey your every command.
Once you have set the level, you can leave it there for
the duration of the session or gig.
71. PUSH TO TALK: MAIN, AUX 1-4
Push in the main switch to route the talkback signal
to the main outputs. Use this to communicate with the
talent in the studio through the headphones during a
recording session.
talent in the studio through the headphones during a
recording session.
The aux 1-4 switch routes the talkback signal to the
aux send 1-4 outputs [13]. Use this to communicate
with the musicians through their stage monitors when
you are setting up a live performance.
with the musicians through their stage monitors when
you are setting up a live performance.
It is fine to have both destination switches pushed in
at the same time, so the talkback signal will be routed
to both destinations. But if you don’t have either of the
destination switches engaged, the talkback signal won’t
go anywhere. You might as well be talking to a brick
wall.
to both destinations. But if you don’t have either of the
destination switches engaged, the talkback signal won’t
go anywhere. You might as well be talking to a brick
wall.
NOTE: The talkback destination switches
are latching switches, not momentary. In
other words, there is no need to hold down
are latching switches, not momentary. In
other words, there is no need to hold down
the switch(es) when using the talkback feature. Simply
engage the switch(es) and begin talking. But don't
forget to disengage the switch when you're done talking
to them, or they may hear your unflattering remarks
regarding their choice of apparel.
engage the switch(es) and begin talking. But don't
forget to disengage the switch when you're done talking
to them, or they may hear your unflattering remarks
regarding their choice of apparel.
NOTE #2: The talkback will not work unless
you have a microphone attached to the
talkback mic input [19].
you have a microphone attached to the
talkback mic input [19].
72. COMPRESSOR
Each of the four groups in the VLZ3 4•Bus mixer has
an in-line compressor circuit with a variable
threshold. This is very useful for compression of vocals,
and snare drums, for example. See page 17 for an entire
page (and a graph even!) dedicated entirely to
explaining compression.
threshold. This is very useful for compression of vocals,
and snare drums, for example. See page 17 for an entire
page (and a graph even!) dedicated entirely to
explaining compression.
73. GROUPS ASSIGN
One popular use of the groups is to use them as
master faders for a group of channels on their way to the
main mix [75]. Let us say you have a drum kit hogging
up seven channels and you are going to want to control
their group volume more conveniently. You do not want
to try that with seven hands or seven fingers, so just
un-assign these channels from the main mix and
reassign them to groups 1-2, engage the assign to main
mix left on group 1 and assign to main mix right on
group 2. Now you may ride the entire drum mix with two
faders - groups 1 and 2.
main mix [75]. Let us say you have a drum kit hogging
up seven channels and you are going to want to control
their group volume more conveniently. You do not want
to try that with seven hands or seven fingers, so just
un-assign these channels from the main mix and
reassign them to groups 1-2, engage the assign to main
mix left on group 1 and assign to main mix right on
group 2. Now you may ride the entire drum mix with two
faders - groups 1 and 2.
If you engage just one assign to main mix button per
group (left or right), the signal sent to the main mix
[75] will be the same level as the group outs [11]. If
you want the subgroup to appear in the center of the
main mix, engage both the assign to main mix left and
right buttons. The signal will be sent to both sides, and
reduced in level by 3 dB like a pan pot, so the overall
level is the same, whether the group is assigned to main
left, main right, or both.
[75] will be the same level as the group outs [11]. If
you want the subgroup to appear in the center of the
main mix, engage both the assign to main mix left and
right buttons. The signal will be sent to both sides, and
reduced in level by 3 dB like a pan pot, so the overall
level is the same, whether the group is assigned to main
left, main right, or both.
Each group may also be soloed. This does not mean
that each member of a group gets their shot at a solo
and stardom. Rather, this allows you to listen to the
group in isolation via monitor outputs or headphones.
Being an output, these signals are AFL.
and stardom. Rather, this allows you to listen to the
group in isolation via monitor outputs or headphones.
Being an output, these signals are AFL.
Groups 1-2 and 3-4 are paired together for purposes of
solo and work together differently in pfl and afl modes.
In pfl mode, since pfl is a mono bus, soloing Group 1 by
itself, Group 2 by itself or both together will result in the
same level solo signal, monaurally (assuming Groups 1
and 2 have the same levels of signal).
In pfl mode, since pfl is a mono bus, soloing Group 1 by
itself, Group 2 by itself or both together will result in the
same level solo signal, monaurally (assuming Groups 1
and 2 have the same levels of signal).