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1604-VLZ3
1604-VLZ3
33. LOW CUT
This switch, often referred to as a high pass fi lter (all
depends on how you look at it), cuts bass frequencies
below 75 Hz at a rate of 18 dB per octave. This ain’t no
thrown-in dime-store fi lter — an 18 dB per octave curve
requires an elaborate circuit. Nothing but the best.
We recommend that you use this on every sound
source except kick drum, bass guitar, bassy synth patch-
es, or recordings of earthquakes. These aside, there isn’t
much down there that you want to hear, and fi ltering 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 amplifi er power.
With LOW CUT, you can safely boost LOW EQ. Many
times, bass shelving EQ can really benefi t voices.
Trouble is, adding LOW EQ also boosts the
subsonic debris: Stage rumble, mic han-
dling clunks, wind noise and breath pops.
LOW CUT removes all that debris so you
can boost the LOW EQ without frying your
woofer.
Here’s a frequency curve of LOW EQ
combined with LOW CUT:
34. AUX 1, 2, 3, & 4
These four knobs tap a portion of each
channel’s signal, mix them together and
send them to the AUX SEND [6] outputs.
They are off when turned fully down,
deliver unity gain at the center detent,
and can provide up to 15 dB of gain turned
fully up. Chances are you’ll never need this
extra gain, but it’s nice to know it’s there if
you do.
The AUX SEND outputs are then patched
to parallel effects processor inputs or
stage monitor amp inputs. AUX SENDS 1
and 2 levels are controlled not only by the
channel’s AUX knobs, but also by the AUX
SEND [49] master knobs.
AUX SENDS can also be used to generate
separate mixes for recording or “mix-mi-
nuses” for broadcast. By using AUX 1 or 2
in the PRE [35] mode, these mix levels can
be obtained independently of a channel’s
FADER [25] settings.
We recommend going into a stereo reverb in
mono and returning in stereo. We have found
that on most “stereo” reverbs, the second
input just ties up an extra aux send and adds
nothing to the sound. There are exceptions, so feel free
to try it both ways. Should you choose to use two aux
sends, use the “odd” AUX (1, 3 or 5) to feed its left input
and the “even” AUX (2, 4 or 6) to feed the right input.
Remember, if you’re also dealing with a stereo source
signal, you’ll want to follow the sides — use the odd
AUX on the channel carrying the left side and the even
AUX on the channel carrying the right.
35. PRE
This switch determines the tap point of AUX 1 and 2.
Generally, “post” sends are used to feed effects devices,
and “pre” sends are used to feed your stage monitors.
See the “Pre vs. Post” diagram below. AUX 3 through 6
are always in post mode.
In post mode (switch up), AUX 1 and 2 will follow the
EQ [32], LOW CUT [33], FADER [25], and MUTE [30]
settings. If you fade the channel, you fade the send. This
is a must for effects sends, since you want the levels of
your “wet” signals to follow the level of the “dry.”
In PRE mode (switch down), AUX 1 and 2 follow the
GAIN and LOW CUT settings only. EQ, PAN, FADER, and
MUTE settings have no effect on the PRE sends. This is
the preferred method for setting up stage monitor feeds
— they’ll be controlled independently of the fader and
mute moves.
36. 5/6 SHIFT
Don’t let the fact that there’s only four AUX knobs per
channel fool you — the 1604-VLZ3 has six AUX SENDs
[6]. With this 5/6 SHIFT switch up, the knobs labeled
AUX 3 and AUX 4 deliver their signals to AUX SEND 3
and 4 outputs. With this switch down, the signals appear
at the AUX SEND 5 and 6 outputs.
We recommend that AUX SEND 3 and 4 be patched
into your “utility” effects, like a short reverb and slap
delay; effects you use all the time. Use AUX SEND 5 and
6 for “exotic” effects, like harmonizers and multi-tap
delays; they are not likely to be used as often.
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
33
36
34
35
INPUT TRIM INSERT
LOW
CUT
EQ
PAN ASSIGN
MUTE
FADER
'POST' SIGNAL
'PRE' SIGNAL
PRE SWITCH
AUX 1
AUX 2