9
Owner’s Manual
Owner’
s Manual
5. Stereo Line Ins
(Channels 7–8, 9–10, 11–12 and 13-14)
These fully balanced inputs are designed for stereo
or mono, balanced or unbalanced signals, from –10 dBV
to +4 dBu. They can be used with just about any
professional or semi-pro instrument, effect or CD player.
In the stereo audio world, an odd-numbered
channel usually receives the “left signal.” For example,
you would feed the 1402VLZ4’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 (jacks 7, 9, 11 or 13)
and plug nothing into the right input (jacks 8, 10, 12 or
14)— this way the signal will appear on both sides. This
trick is called “jack normalling.”
6. +4/–10 Level (Stereo Channels Only)
This switch adjusts the input sensitivity of the line
inputs on channels 7 to 14. If the sound source is a "–10"
device, engage this switch. If you are unsure, leave the
switch up, and perform the level setting procedure,
substituting this switch for the gain knob to find the
best position for it.
Effects: Serial Or Parallel?
The next two sections toss the terms “serial” and
“parallel” 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 preferably through the insert jacks located on the
rear panel (channel insert [17] 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 (stereo 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.
Dry Signal
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
Dry Signal
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
Dry Signal
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
3. Low Cut (Channels 1–6)
Each low cut switch, often referred to as a high pass
filter (all depends on how you look at it), cuts bass
frequencies below 75 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 your subwoofers.
Here’s what the combination of low EQ and low-cut
looks like in terms of frequency curves:
4. Gain (Channels 1–6)
If you haven’t already, please read the level-setting
procedure on page 5.
Gain adjusts the input sensitivity of
the mic and line inputs connected
to channels 1 through 6. This allows
signals from the outside world to be
adjusted to optimal internal operating
levels.
If the signal originates through the 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" input, there is 20 dB of attenuation
fully down and 40 dB of gain fully up, with a “U” (unity
gain) mark at 10:00. This 20 dB of attenuation can be
very handy when you are inserting a very hot signal, or
when you want to add a lot of EQ gain, or both. Without
this “virtual pad,” this scenario might lead to channel
clipping.
Low Cut with Low EQ
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
Low Cut
