1202 VLZ3 12 Channel Mic/Line Mixer Owner's Manual Mackie 1202vlz3 Om
Mackie 1202-VLZ3 Owner's Manual 1202vlz3_om Mackie - 1202-VLZ3 - Owner's Manual
User Manual: Mackie 1202-VLZ3 Owner's Manual Mackie - 1202-VLZ3 - Owner's Manual
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1202-VLZ3 12-Channel Mic/Line Mixer OWNER’S MANUAL POWER ON PHANTOM ON WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT CAUTION SERIAL NUMBER EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. RISK OF ELECTRIC SHOCK DO NOT OPEN MANUFACTURING DATE AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC. ALT OUTPUT CONTROL ROOM L MAIN BALANCED R BAL/UNBAL BAL/UNBAL R/4 L CHANNEL INSERT ( PRE-FADER / PRE EQ TIP SEND / RING RETURN ) 4 L/3 2 3 1 MAIN OUTPUT LEVEL MIC 1 MIC 2 MIC PR E XDR MIC 4 MIC 3 MIC PR E XDR MIC PR E XDR BAL OR UNBAL LOW CUT 75 Hz 18dB/OCT -10dBV C GAIN I U M 60 0 +15dB -45dB GAIN OO +15 U C GAIN I U M 60 0 +15dB -45dB GAIN +15 OO EQ U +15 U +15 +15 U -15 +15 U +15 U +15 +15 U +15 OO PAN +15 +15 U +15 U -15 +15 PAN L L BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL R AUX U +15 U +15 +15 U OO EQ PAN +15 OO EQ +15 U +15 U +15 U PAN OO EQ +15 U +15 U PAN EQ HI 12kHz +15 U MID 2.5kHz -15 +15 +15 U -15 +15 U +15 PAN LEFT RIGHT 0dB=0dBu 20 +15 U 7 4 LOW 80Hz -15 2 ALT 3–4 0 +15 PAN 2 PAN 4 TAPE 7 L R L R 1 L R 2 MUTE L R 3 MUTE L R 4 MUTE L R 5/6 MUTE 7/8 MUTE MUTE 10 L R L R 9/10 11/12 MUTE ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER U U U U U U U U SOLO OO +12dB LEVEL SOLO OO +12dB LEVEL SOLO OO +12dB LEVEL SOLO OO +12dB LEVEL SOLO OO +12dB LEVEL ALT 3–4 MUTE ALT 3–4 PRE FADER SOLO OO +12dB LEVEL ALT 3–4 SOLO OO +12dB LEVEL 20 30 ASSIGN TO MAIN MIX SOLO OO CLIP 10 MAIN MIX LOW 80Hz -15 POWER CONTROL ROOM SOURCE MID 2.5kHz -15 LOW 80Hz -15 +15 U HI 12kHz MID 2.5kHz -15 +15 +15 AUX U OO U -15 LOW 80Hz -15 +15 U HI 12kHz -15 R LINE IN 11–12 AUX U OO U MID 2.5kHz -15 +15 +15 U HI 12kHz LOW 80Hz -15 AUX U OO U -15 MONO MONO L LINE IN 9–10 MID 2.5kHz -15 MAIN OUT MONO L R OO LOW 80Hz R LINE IN 7–8 EQ +15 U R MONO HI 12kHz -15 R 2 R OO U MID 2.5kHz -15 +15 +15 U L LINE IN 5–6 AUX U EQ LOW 80Hz -15 GAIN HI 12kHz -15 +15 U C GAIN I U M 60 0 +15dB -45dB L L AUX SEND LOW CUT 75 Hz 18dB/OCT -10dBV OO U MID 2.5kHz -15 BAL OR UNBAL AUX U OO LOW 80Hz -15 GAIN HI 12kHz MID 2.5kHz -15 60 0 +15dB -45dB EQ U HI 12kHz -15 C GAIN I U M OO R 2 BAL /UNBAL TAPE TAPE INPUT OUTPUT 1 LINE IN 4 LOW CUT 75 Hz 18dB/OCT -10dBV AUX U OO BAL OR UNBAL LINE IN 3 LOW CUT 75 Hz 18dB/OCT -10dBV AUX U OO BAL OR UNBAL LINE IN 2 ALL BAL/UNBAL 1 L LINE IN 1 R L /MONO MIC PR E XDR +12dB LEVEL RUDE SOLO LIGHT U OO MAX CTL ROOM /SUBMIX U OO +12dB MAIN MIX LEVEL SET 1202-VLZ3 Important Safety Instructions 1. 2. 3. 4. 5. 6. 7. Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with a dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10. Do not overload wall outlets and extension cords as this can result in a risk of fire or electric shock. 11. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 12. Only use attachments/accessories specified by the manufacturer. PORTABLE CART 13. Use only with a cart, stand, tripod, bracket, or WARNING table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. 14. Unplug this apparatus during lightning storms or when unused for long periods of time. 15. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 16. This apparatus shall not be exposed to dripping or splashing, and no object filled with liquids, such as vases or beer glasses, shall be placed on the apparatus. 17. This apparatus has been designed with Class-I construction and must be connected to a mains socket outlet with a protective earthing connection (the third grounding prong). 18. This apparatus has been equipped with a rocker-style AC mains power switch. This switch is located on the rear panel and should remain readily accessible to the user. 19. The MAINS plug or an appliance coupler is used as the disconnect device, so the disconnect device shall remain readily operable. CAUTION AVIS RISK OF ELECTRIC SHOCK. DO NOT OPEN RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE. AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L'HUMIDITE The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution. The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance. Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil. 20. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the equipment and the receiver. • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. • Consult the dealer or an experienced radio/TV technician for help. CAUTION: Changes or modifications to this device not expressly approved by LOUD Technologies Inc. could void the user's authority to operate the equipment under FCC rules. 21. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications. ATTENTION — Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage radioélectrique édicté par les ministere des communications du Canada. 22. Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the permissible noise level exposures shown in the following chart. According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here: Duration, per day in hours 8 6 4 3 2 1.5 1 Sound Level dBA, Slow Response 90 92 95 97 100 102 105 0.5 110 0.25 or less 115 Typical Example Duo in small club Subway Train Very loud classical music Dave screaming at Steve about deadlines Loudest parts at a rock concert WARNING — To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service. 1202-VLZ3 We realize that you must be wanting to try out your new 1202-VLZ3. All we ask is that you read this page NOW, and the rest can wait until you’re good and ready. But do read it — you’ll be glad you did. WARNING: Before you plug the AC power cord into the mixer, make sure the VOLTAGE SELECTOR switch is set to the same voltage as your local AC mains supply (see page 12). Level-Setting Procedure Message to seasoned pros: do not set levels using the old “Turn the GAIN up until the clip light comes on, then back off a hair” trick. When a Mackie mixer clip light comes on, you really are about to clip. We worked and slaved to come up with a better system, one that provides low noise and high headroom. Adjusting input levels (Chs. 1–4 only) On the first four channels, it’s not even necessary to hear what you’re doing to set optimal levels. But if you’d like to: Plug headphones into the PHONES jack, then set the CONTROL ROOM/SUBMIX knob about one-quarter of the way up. The following steps must be performed one channel at a time: Other Nuggets of Wisdom For optimum sonic performance, the channel LEVEL knobs and the MAIN MIX knob should be set near the “U” (unity gain) markings. Always turn the MAIN MIX and CONTROL ROOM/ SUBMIX level controls down before making connections to and from your 1202-VLZ3. If you shut down your equipment, turn off your amplifier or powered speakers first. When powering up, turn them on last. Save the shipping box! You may need it someday. Instant Mixing Here’s how to get going right away, assuming you have a microphone and a keyboard: 1. Plug your microphone into channel 1’s MIC input. 2. Turn on the 1202-VLZ3. 3. Perform the Level-Setting Procedure. 4. Connect cords from the MAIN OUTS (XLR, 1⁄4" or RCA, your choice) to your amplifier. 5. Hook up speakers to the amp and turn it on. 6. Turn up the 1202-VLZ3’s channel 1 LEVEL knob to the center detent and the MAIN MIX knob one quarter of the way up. 1. Turn the GAIN, LEVEL and AUX send knobs fully down (counterclockwise). 7. Sing like a canary! 2. Set the EQ knobs at the center detent. 9. Turn that channel’s LEVEL knob to the center detent. 3. Connect the signal source to the input. 4. Engage (push in) the SOLO switch. 5. Play something into the selected input. This could be an instrument, a singing or speaking voice, or a line input such as a CD player or tape recorder output. Be sure that the volume of the input is the same as it would be during normal use. If it isn’t, you might have to readjust these levels during the middle of the set. 6. Adjust the channel’s GAIN control so that the display on the right LED meter stays around “0” and never goes higher than “+7.” Owner’s Manual Read This Page! 8. Plug your keyboard into stereo channel 5-6. 10. Play like a madman and sing like a canary! It’s your first mix! Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, make dad proud, etc.) Purchased at: 7. If you’d like to apply some EQ, do so now and return to step 6. 8. Disengage that channel’s SOLO switch. 9. Repeat for each of channels 1 through 4. Date of purchase: Part No. SW0540 Rev. C 01/09 ©2006-2009 LOUD Technologies Inc. All Rights Reserved. Owner’s Manual 1202-VLZ3 Introduction Thank you for choosing a Mackie professional compact mixer. The 1202-VLZ3 is equipped with our precision-engineered XDRTM Extended Dynamic Range premium studio-grade mic preamp. This icon marks information that is critically important or unique to the 1202-VLZ3. For your own good, read them and remember them. They will be on the final test. Now that you have your 1202-VLZ3, find out how to get the most from it. That’s where this manual comes in. This icon will lead you to in-depth explanations of features and practical tips. While not mandatory, they usually have some valuable nuggets of information. How To Use This Manual Since many of you folks will want to hook up your 1202-VLZ3 immediately, the first pages you will encounter after the table of contents are the ever-popular hookup diagrams. These show typical mixer setups for Record/Mixdown, and Stereo PA. After this section is a detailed tour of the entire mixer. Every feature of the 1202-VLZ3 is described “geographically;” in other words, in order of where it is physically placed on the mixer’s top or rear panel. These descriptions are divided into the first three sections, just as your mixer is organized into three distinct zones: Appendix A is a section on troubleshooting and repair information. Appendix B is a section on connectors: XLR connectors, TRS balanced connectors, TS unbalanced connectors, and Insert connectors. Appendix C shows the technical specifications, and a block diagram showing the internal signal path and general goings-on within the mixer. Patchbay: The patchbay along the top and back, where you connect things. Channel Strip: The eight channel strips where you adjust each channel. Output Section: The output section on the right. Throughout these sections you’ll find illustrations, with each feature numbered. If you’re curious about a feature, simply locate it on the appropriate illustration, notice the number attached to it, and find that number in the nearby paragraphs. Need help with your new mixer? • Visit www.mackie.com and click Support to find: FAQs (Frequently Asked Questions), manuals, and addendums. • Email us at: techmail@mackie.com. • Telephone 1-800-898-3211 to speak with one of our splendid technical support representatives, (Monday through Friday, during normal business hours, PST). 1202-VLZ3 IMPORTANT SAFETY INSTRUCTIONS......................... 2 READ THIS PAGE!..................................................... 3 INTRODUCTION....................................................... 4 HOOKUP DIAGRAMS............................................... 6 PATCHBAY DESCRIPTION.......................................... 8 1. MIC INPUTS (CHANNELS 1–4).................... 8 2. LINE INPUTS (CHANNELS 1–4)................... 8 3. LOW CUT (CHANNELS 1–4)........................ 9 4. GAIN (CHANNELS 1–4) . ........................... 9 5. STEREO LINE INPUTS................................. 9 6. IMAGINARY CONTROL ............................. 9 EFFECTS: SERIAL OR PARALLEL?................. 9 7. STEREO RETURNS.................................... 10 8. AUX SEND 1&2....................................... 10 9. TAPE INPUT............................................ 10 10. TAPE OUTPUT......................................... 10 11. 1⁄4" MAIN OUTS...................................... 10 12. PHONES................................................. 11 13. XLR MAIN OUTS .................................... 11 14. XLR MAIN OUTPUT LEVEL SWITCH........... 11 15. CONTROL ROOM..................................... 11 16. ALT 3–4 OUTPUT.................................... 11 17. CHANNEL INSERT (CHANNELS 1–4 )......... 11 18. POWER CONNECTION.............................. 12 19. FUSE....................................................... 12 20. VOLTAGE SELECTOR................................. 12 21. POWER SWITCH...................................... 12 22. PHANTOM SWITCH................................. 12 CHANNEL STRIP DESCRIPTION................................ 13 “U” LIKE UNITY GAIN.............................. 13 23. LEVEL..................................................... 13 24. PRE-FADER SOLO.................................... 13 25. MUTE/ALT 3–4....................................... 13 26. PAN....................................................... 14 27. 28. 29. 30. 31. OUTPUT SECTION................................................... 16 32. MAIN MIX.............................................. 16 33. CONTROL ROOM SOURCE MATRIX........... 16 34. CONTROL ROOM/SUBMIX...................... 16 A WORD ABOUT PRE-FADER SOLO (PFL) 17 35. RUDE SOLO LIGHT................................... 17 36. ASSIGN TO MAIN MIX............................. 17 37. METERS – MANY DISPLAYS IN ONE!........ 17 38. PRE OR POST (AUX 1) ........................... 18 39. AUX 1 MASTER....................................... 18 40. STEREO RETURNS.................................... 18 41. RETURN TO AUX 1.................................. 19 JACK NORMALLING................................. 19 APPENDIX A: SERVICE INFORMATION..................... 20 APPENDIX B: CONNECTIONS.................................. 21 APPENDIX C: TECHNICAL INFORMATION................. 24 SPECIFICATIONS.............................................. 24 Owner’s Manual Contents BLOCK DIAGRAM............................................. 25 TRACK SHEET.................................................. 26 1202-VLZ3 LIMITED WARRANTY............................ 27 CONSTANT LOUDNESS ! ! !....................... 14 3-BAND EQ............................................. 14 LOW EQ.................................................. 14 MID EQ................................................... 14 HI EQ...................................................... 15 MODERATION DURING EQ....................... 15 AUX 2 SEND........................................... 15 AUX 1 SEND........................................... 15 Owner’s Manual 1202-VLZ3 Hookup Diagrams 2 3 3 4 4 Stereo Guitar Effects Drum Machine Keyboard or other line level input L MONO 6 R 7 L MONO 8 R 9 CHANNEL INPUTS 5 L MONO 10 R L 11 MONO 12 R In (record) L L IN-TAPE-OUT PHONES CONTROL RM OUT OUTPUTS Tape Player Out (play) 2 4 1 2 L R Digital Delay L R 1 L R R R R In Out Stereo Compressor In Out 3 AUX SEND 2 In Mono Compressor Out 1 ALT 3-4 OUT 1 MAIN OUT 1 Multi Effect Processor 2 L MAIN OUT Direct Boxes STEREO RETURNS CHANNEL INSERTS Vocal Mics Headphones for Studio Powered Studio Monitors Headphone Distribution Amp Recording System 1202-VLZ3 Powered Studio Monitors for Studio Way-cooler Guitar dad bought your kid brother for his birthday 2 3 3 4 4 Stereo Guitar Effects L MONO 6 R Drum Machine Keyboard or other line level input 7 L MONO 8 R 9 CHANNEL INPUTS 5 L MONO 10 R L 11 MONO 12 R In (record) IN-TAPE-OUT PHONES CNTRL ROOM OUT OUTPUTS Tape Player Out (play) L R L R 2 In Out Stereo Compressor In Out 3 4 1 2 AUX SEND 2 In Mono Compressor Out 1 ALT 3/4 OUT 1 MAIN OUT 1 L R L R Multi Effect Processor 1 2 L R Mono EQ Mono Power Stage Monitors Amplifier L R MAIN OUT Direct Boxes STEREO RETURNS CHANNEL INSERTS Vocal Mics Owner’s Manual Bass Guitar Guitar dad bought you for your birthday Stereo EQ Headphones SRM450 Powered Speaker This setup can be easily reconfigured to become a Mono PA setup. A. Stereo sources should feed the left mono side of channel input only. B. Pan each channel hard left. C. Connect Mono PA system to Left main output. SWA1501 Powered Subwoofer SRM450 Powered Speaker SWA1501 Powered Subwoofer Live Stereo PA System Owner’s Manual 1202-VLZ3 LEVEL Patchbay Description MIC 1 MIC 2 MIC PR E XDR MIC 4 MIC 3 MIC PR E XDR MIC PR E XDR L BAL OR UNBAL LINE IN 1 LINE IN 2 LOW CUT 75 Hz 18dB/OCT dBV -10G A IN C I U M BAL OR UNBAL 60 0 +15dB -45dB GAIN IN C 60 0 +15dB -45dB GAIN AUX U LINE IN 3 LOW CUT 75 Hz 18dB/OCT dBV -10G A I U M BAL OR UNBAL 60 0 +15dB -45dB GAIN AUX U IN C I U M BAL OR UNBAL 60 0 +15dB -45dB GAIN AUX U OO +15 U OO +15 OO U +15 U OO +15 OO U +15 U OO +15 OO U HI 12kHz MONO L L L +15 U -15 +15 U MID 2.5kHz -15 +15 U -15 +15 +15 U MID 2.5kHz +15 U LOW 80Hz -15 -15 5 R R R LINE IN 5–6 LINE IN 7–8 LINE IN 9 –10 AUX U OO +15 OO +15 U OO +15 OO MID 2.5kHz -15 +15 U LOW 80Hz +15 -15 PAN PAN L R -15 +15 +15 U -15 -15 +15 OO +15 OO U +15 U +15 PAN +15 OO U +15 U +15 U PAN HI 12kHz +15 U -15 +15 U +15 PAN CONTROL ROOM SOURCE LEFT RIGHT 0dB=0dBu 20 -15 7 MAIN MIX +15 U 4 LOW 80Hz 2 ALT 3–4 Do not plug instrument outputs into the MIC PAN PAN input jacks with phantom power on, unless you know for certain it is safe to do so. -15 0 +15 2 4 TAPE 7 L R L R L R L R L R CLIP 10 MID 2.5kHz LOW 80Hz -15 POWER Never plug single-ended (unbalanced) micro phones or instruments into the MIC [1] input jacks if the phantom power is on. MID 2.5kHz -15 +15 +15 U LOW 80Hz -15 +15 U HI 12kHz -15 +15 U LOW 80Hz -15 OO MID 2.5kHz -15 AUX U +15 U HI 12kHz -15 LINE IN 11–12 AUX U +15 U MID 2.5kHz LOW 80Hz PAN 1. MIC INPUTS (Channels 1–4) L R MID 2.5kHz LOW 80Hz -15 +15 U 5 The 1202-VLZ3’s phantom power is globally controlled by the PHANTOM [22] switch on the rear panel. (This means the phantom power for channels 1-4 is turned on and EQ off together.) EQ EQ HI 12kHz -15 5 AUX U U +15 U L R HI 12kHz -15 MONO 5 See Appendix B for further details and drawings of the connectors you can use with the 1202-VLZ3. Also see the Channel Strip description on page 13 for details of the signal routing from the XLR and Line inputs. -15 MAIN OUT MONO BAL OR UNBAL +15 U HI 12kHz R BAL OR UNBAL U HI 12kHz R MONO At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, headphones, and the ultimate destination for your sound: aEQtape recorder, PAEQ system, etc. EQ EQ EQ OO R BAL OR UNBAL AUX U L 2 BAL OR UNBAL IN C L L AUX SEND LOW CUT 75 Hz 18dB/OCT dBV -10G A I U M R BAL /UNBAL TAPE TAPE INPUT OUTPUT 1 2 LINE IN 4 LOW CUT 75 Hz 18dB/OCT dBV -10G A ALL BAL/UNBAL 1 1 2 3 4 R L /MONO MIC PR E XDR 10 L R 20 LEVEL SET 1 2 3 4 5/6 7/8 9/10 11/12 We use phantom-powered, balanced microphone MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE inputs just like the big studio mega-consoles, for exactly 2. LINE INPUTSSOLO(Channels 1–4) SOLO SOLO SOLO SOLO SOLO SOLO SOLO the same reason: This kind of circuit is excellent at reThese four line-inputs share circuitry (but not phanjecting hum and noise. You can plug in almost any kind tom power) with the mic preamps, and can be driven of mic that has a standard XLR male micLEVEL connector. /SUBMIX MAIN MIX LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL by balanced or unbalanced sources at almost any level. Professional ribbon, dynamic, and condenser mics You can use these inputs for virtually any signal you’ll will all sound excellent through these inputs. The come across, from instrument levels as low as –40 dB to 1202-VLZ3’s mic inputs will handle any kind of mic level operating levels of –10 dBV to +4 dBu, since there is 40 you can toss at them, without overloading. Be sure to dB more gain available than on channels 5–12. perform the Level-Setting Procedure on page 3. To connect balanced lines to these inputs, use a 1⁄4" Not every instrument is made to connect directly to a Tip-Ring-Sleeve (TRS) plug, the type found on stereo mixer. Guitars commonly need a Direct Injection (DI) headphones. box to connect to the mixer's MIC inputs. These boxes To connect unbalanced lines to these inputs, use a convert unbalanced line-level signals from your guitar, 1⁄4" mono (TS) phone plug or standard instrument into balanced mic-level outputs, and provide signal and cable. impedance matching. They also let you send your gifted guitar renditions over long cables or audio snakes, with The LINE IN inputs 1–4 are a good place to connect minimum interference and high-frequency signal loss. older instruments that need more gain. You can correct Ask your dealer or guitar maker about their recommenweak levels by adjusting the corresponding channel’s dations for a good DI box. GAIN control. 30 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER U U U U U U U U OO +12dB OO +12dB OO +12dB OO +12dB OO +12dB OO +12dB OO +12dB OO ASSIGN TO MAIN MIX +12dB U OO CTL ROOM PHANTOM POWER Most modern professional condenser mics are equipped for phantom power, which lets the mixer send low-current DC voltage to the mic’s electronics through the same wires that carry audio. (Semi-pro condenser mics often have batteries to accomplish the same thing.) “Phantom” owes its name to an ability to be “unseen” by dynamic mics (Shure SM57/SM58, for instance), which don’t need external power and aren’t affected by it anyway. 1202-VLZ3 RUDE SOLO LIGHT U MAX OO +12dB PHANTOM ON POWER ON 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 losing a woofer. Here’s what the combination of low EQ and low-cut looks like in terms of frequency curves: +15 +15 +10 +10 +5 +5 0 –5 MIC 1 MIC 20 MIC PR E XDR –15 –15 20Hz 100Hz 1kHz 10kHz 20kHz Low Cut 20Hz 100Hz 1kHz 10kHz 20kHz Low Cut with Low EQ CONTROL ROOM Lstereo MAINaudio world, an odd-numbered In theBALANCED chanBAL/UNBAL nel usually receives the “left signal.” For example, you L R would feed the 1202-VLZ3’s line inputs 5-6 a stereo signal by inserting the device’s left output plug into the channel 5 jack, and its right output plug into the chanMAIN nel 6 jack. OUTPUT If you haven’t already, please read the Level-Setting Procedure on page 3. BAL BAL BAL C I U M IN 60 0 +15dB -45dB 18dB/OCT GAIN +15dB -45dB +15dB -45dB GAIN GAINis 15 Through the 1⁄4" input, there dB of attenuation fully down and 45 dB of gain fully up, with a “U” (unity gain) mark at 10:00. This 15 dB of attenuation can be veryUhandyAUX when you are inserting U U AUX AUX 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. OO +15 OO +15 OO +15 U U This control is purely a figment of our imagination. It will come in handy after long hours of mixing, when you really would like a nice cup of tea, a vacation in Hawaii, or a trip to the outer reaches of the Solar System. This is the control for you. Be thankful, you bought a Mackie. We love you man! R L /MONO ALL BAL/UNBAL +15 U OO The next two sections toss the terms “serial” and L “parallel” around like hacky sacks. Here’s what we mean by them: R 2 2 “Serial” means that the entire signal is routed through R the effects device. Examples: compressor/limiters, graphic equalizers. Line-level sources can be patched through BAL a serial effects device before or after the mixer, AUX SEND OR or preferably UNBAL through the insert jacks located on the MONO MONO rear panel (CHANNEL INSERT [17] send/return). L C I U M EQ U HI 12kHz -15 +15 U OO EQ U HI 12kHz -15 +15 U +15 U BAL OR UNBAL Signal R R R of the signal 60Aux means that a portion 0“Parallel” Aux Outputin the Return Section +15dB -45dB mixer isSend tapped off to the device (AUX SEND), proLINE IN 5–6Insert LINE IN 9 –10 LINE IN 7– 8 GAIN Insert Signal Processor Send Return cessed and returned to the mixerWet(STEREO RETURN) (e.g., Reverb) Signal Signal Processor toDrybeSignal mixed with(e.g., the original “dry” signal. This way, Compressor) Processed Mix Processed Signal multiple channels can all make use of the Stage same effects Signal ChannelUPath U U AUX AUX AUX AUX Dry dUevice. Examples: reverb, digital delay. Dry Signal(s) Signal(s) Aux Send OO +15 U EQ U HI 12kHz -15 L BAL OR UNBAL Processed N Aux Return OO Processor +15 Signal (e.g.,U Reverb) Signal(s) OO Dry+15 +15 MONO L Insert Return BAL 18dB/OCT Signal Processor OR d B 0 V 1 (e.g., Compressor) UNBAL Dry- Signal GAI U +15 TA TAPE INPUT OUT 1 Output Section OO +15 OO EQ Mix Stage HI 12kHz -15 +15 U EQ HI 12kHz -15 +15 U U Owner’s -15 +15 U +15 U Processed Signal Dry O Signal(s) O +15 +15 U OO Wet Signal U Channel Path OO BAL R/4 6. IMAGINARY CONTROL 18dB/OCT dBVoriginates through dBVthe XLR the signal -10G -10G IC AIN IC AIN M M U U jack, there will be 0 dB of gain with the knob fully down, ramping to 60 dB of gain fully 60 60 0 up. 0 A OU LEVEL OR OR OR GAIN adjusts line UNBAL the input sensitivity UNBAL of the mic and UNBAL inputs connected to channels 1 through 4. This allows LINE IN from 1 LINE IN 2 to be adjusted LINE IN 3 signals the outside world to optimal LINE IN 4 Insert CUT LOW CUT LOW CUT LOW CUT internal LOW operating levels. Send 75 Hz 75 Hz 75 Hz 75 Hz 18dB/OCT dBV If -10G A EXPOSE TH NO USER S When connecting a mono device (just one cord), always use the LEFT (MONO) input (jacks 5, 7, 9 or 11) and plug nothing into the RIGHT input (jacks 6, 8, 10 or 12)— this way the signal will appear on both sides. This trick is called “jack normalling.” L 4. GAIN (Channels 1–4) WAR These fully balanced inputs are designed for stereo or AVIS: mono, balanced or unbalanced signals,REPLACE fromWITH –10 dBV THE SAME TYPEto FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE +4 dBu. They can be used with just about any profesX sional or semi-pro instrument, effect or tape player. MIC PR SERIAL OR PARALLEL? EFFECTS: E XDR 1 MIC PR E XDR –10 –10 RISK OF ELECTRIC SHOCK DO NOT OPEN MIC 4 MIC 3 MIC P–5R E XDR 5. STEREO LINE INPUTS (Channels 5–6, 7–8, 9–10 and 11–12)CAUTION Owner’s Manual 3. LOW CUT (Channels 1–4) OO EQ +15 U HI Manual 12kHz -15 +15 U EQ HI 12kHz 1202-VLZ3 MIC 1 MIC 2 MIC PR E XDR MIC 4 MIC 3 MIC PR E XDR MIC PR E XDR L /MONO 7 MIC PR E XDR L BAL OR UNBAL LINE IN 1 LINE IN 2 LOW CUT 75 Hz 18dB/OCT dBV -10G A IN C I U M BAL OR UNBAL 60 0 +15dB -45dB GAIN 60 0 +15dB -45dB GAIN +15 U OO +15 OO IN C I U M 60 0 +15dB -45dB GAIN OO +15 OO 60 0 +15dB -45dB GAIN +15 U OO +15 OO L R R R 2 MAIN OUT MONO MONO MONO L L L L BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL R R R R LINE IN 5–6 LINE IN 7–8 LINE IN 9–10 AUX U L L AUX SEND IN C R BAL /UNBAL TAPE TAPE INPUT OUTPUT MONO LOW CUT 75 Hz 18dB/OCT dBV -10G A AUX U +15 U BAL OR UNBAL I U M ALL BAL/UNBAL 1 2 LINE IN 4 LOW CUT 75 Hz 18dB/OCT dBV -10G A AUX U 7. STEREO RETURNS OO IN C AUX U LINE IN 3 LOW CUT 75 Hz 18dB/OCT dBV -10G A I U M BAL OR UNBAL 9 10 11 8 R 1 AUX U +15 U OO +15 OO AUX U +15 U OO +15 OO LINE IN 11–12 AUX U 12 AUX U Use these jacks for convenient tape playback of your mixes. You’ll be able to review a mix and then rewind and try another pass without repatching or disturbing EQmixer levels. EQ the YouEQcan also use these jacks with a LEFT RIGHT portable tape or CD playerCONTROL to feed music to a PA system ROOM SOURCE between sets. +15 U OO +15 OO +15 U OO +15 OO +15 U This is where you connect the outputs of your parallel effects devices (or extra audioEQsources). These EQ EQ EQ EQ balanced inputs are similar to the stereo LINE IN [2] inputs (without EQ, Aux Sends, Pan, Mute, and Solo). The circuits will handle stereo or mono, balanced or unbalanced signals, either instrument level, –10 dBV WARNING: Engaging both the TAPE and or +4 dBu. They can be used with just about any pro or ASSIGN TO MAIN MIX buttons in the CONPAN PAN The PAN PAN PAN PAN PAN SOURCE [33] matrix can create semipro effects device onPAN the market. signals comTROL ROOM ing into these inputs can be adjusted using the STEREO a feedback path between TAPE INPUT and TAPE OUTRETURN [40] before passing onto 1 knobs 2 3 4 the main 5/6 mix 7/8 PUT. Make 9/10 sure 11/12 your tape deck is not in record, recordMUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE bus, see page 19. pause, or input monitor mode, when you engage these SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO switches, or make sure the CONTROL ROOM / SUBMIX One Device: If you have just one parallel effects [34] level knob is fully counterclockwise (off). device (two cords), use STEREO RETURN 1 and leave STEREO RETURN 2 unplugged. That way, /SUBMIX MAIN MIX LEVEL LEVEL LEVEL LEVELthe unused LEVEL LEVEL LEVEL LEVEL 10. TAPE OUTPUT STEREO RETURN 2 level control can be used to feed STEREO RETURN 1 to your stage monitors, via the These unbalanced RCA connections tap the main RETURN TO AUX 1 [41] switch. mix output to make simultaneous recording and PA work more convenient. Connect these to your recorder’s Mono Device: If you have an effects device with inputs. (See also MAIN MIX [32] on page 16.) a mono output (one cord), plug that into STEREO RETURN 1, L/MONO, and leave STEREO RETURN 1, Mono Out: If you want to feed a mono signal to your RIGHT, unplugged. This way the signal will be sent tape deck or other device, simply use an RCA Y-cord to to both sides, magically appearing in the center as a combine these outputs. Do not attempt this with any mono signal. This won’t work with STEREO RETURN 2 other outputs on the 1202-VLZ3. — you’ll need a Y-cord. OO U U U HI 12kHz -15 +15 U HI 12kHz -15 +15 U MID 2.5kHz -15 +15 U -15 +15 -15 +15 U +15 U -15 +15 -15 +15 U +15 U -15 +15 -15 +15 U +15 U -15 +15 -15 +15 U +15 U +15 -15 +15 U LOW 80Hz -15 HI 12kHz +15 U MID 2.5kHz -15 -15 +15 -15 +15 U 0dB=0dBu +15 U 20 -15 +15 4 LOW 80Hz -15 7 MAIN MIX +15 U 2 ALT 3–4 0 +15 2 4 TAPE 7 10 L R L R L R L R L R L R L R L R ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER U U U U U U U U CLIP 10 MID 2.5kHz LOW 80Hz -15 POWER HI 12kHz MID 2.5kHz LOW 80Hz -15 +15 U HI 12kHz MID 2.5kHz LOW 80Hz -15 U HI 12kHz MID 2.5kHz LOW 80Hz -15 U HI 12kHz MID 2.5kHz LOW 80Hz -15 U HI 12kHz MID 2.5kHz LOW 80Hz -15 U LEVEL SET 20 30 OO +12dB OO +12dB OO +12dB OO +12dB OO +12dB OO +12dB OO +12dB OO ASSIGN TO MAIN MIX +12dB RUDE SOLO LIGHT U OO U MAX OO +12dB CTL ROOM 8. AUX SEND 1&2 The AUX SEND [31] knobs tap a portion of each channel's signal to provide an output here to feed external parallel effects processors or stage monitoring. See the AUX SEND details on page 15. These 1⁄4" jacks are balanced outputs capable of delivering 22 dBu into a 600 ohm balanced or unbalanced load. 9. TAPE INPUT These RCA jacks are designed to work with semipro as well as pro recorders. To compensate for typically low levels, signals coming in here will be automatically boosted by 6 dB. Connect your tape recorder’s outputs here, using standard hi-fi (RCA) cables. 10 1202-VLZ3 11. 1⁄4" MAIN OUTS These outputs feed the main mix out into the waiting world. You can feed your amplifiers this way, or through the XLR MAIN OUTS [13]. These balanced outputs are capable of delivering 22 dBu into a 600 ohm balanced or unbalanced load. To use these outputs to drive balanced inputs, connect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this: Tip = + (hot) Ring = –(cold) Sleeve = Ground For most music recording and PA applications, unbalanced lines are fine. To drive unbalanced inputs, connect 1⁄4" TS (Tip–Sleeve) phone plugs like this: Tip = + (hot) Sleeve = Ground PHANTOM ON WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT CAUTION SERIAL NUMBER EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. RISK OF ELECTRIC SHOCK DO NOT OPEN MANUFACTURING DATE AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC. ALT OUTPUT CONTROL ROOM L MAIN BALANCED R BAL/UNBAL BAL/UNBAL R/4 L CHANNEL INSERT ( PRE-FADER / PRE EQ TIP SEND / RING RETURN ) 2 3 4 L/3 1 MAIN OUTPUT LEVEL 13 14 15 12. PHONES 16 17 loed channels, or the Tape input. The volume is adjustable with the CONTROL ROOM/SUBMIX [34]knob. Owner’s Manual POWER ON This stereo jack will drive any standard headphone MIC 2 MIC 3 MIC 4 TAPE TAPE 1 to very loudMIClevels. Walkperson-type phones can also be balanced outputs are capable of delivering 22 INPUT OUTPUT 1 These L 1 used with an appropriate adapter. To learn how signals dBuL into a 600 L ohm balanced or unbalanced load. are routed to these outputs, see SOURCE MATRIX2 R 2 R R [33] on page 16. If you’re wiring your own cable for the 16. ALT 3–4 OUTPUT PHONES output, follow standard conventions: MAIN OUT AUX SEND These 1⁄4" outputs are the sum of any channels that IN 1 LINE IN 2 LINE IN 3 LINE IN 4 L L L L Tip =LINELeft channel have the MUTE/ALT 3-4 [25] switch pressed in (see page 13 for the tender details). Ring = Right channel MIC PR E XDR MIC PR E XDR BAL OR UNBAL LOW CUT 75 Hz 18dB/OCT -10dBV C GAIN I U M MIC PR E XDR BAL OR UNBAL LOW CUT 75 Hz 18dB/OCT -10dBV C GAIN I U M BAL OR UNBAL LOW CUT 75 Hz 18dB/OCT -10dBV C GAIN I U M Sleeve = Common ground 60 0 +15dB -45dB GAIN 60 0 +15dB -45dB GAIN 60 0 +15dB -45dB GAIN L /MONO R L R ALL BAL/UNBAL BAL OR UNBAL LOW CUT 75 Hz 18dB/OCT -10dBV C GAIN I U M 60 0 +15dB -45dB GAIN MONO MONO MONO MONO BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL R R R R LINE IN 5–6 These balanced outputs are capable of delivering 22 LINE IN 11–12 LINE IN 9–10 LINE IN 7–8 dBu into a balanced or unbalanced load. WARNING: When we say the headphone AUX ampAUX is loud, AUX we’re notAUX kidding. AUX It can cause permanent ear damage. Even intermediate levels may be painfully loud with some earphones. BE CAREFUL! Always turn the CTL ROOM/ SUBMIX [34] EQ down before EQ EQ EQ EQ knob all the way connecting headphones. Keep it down until you’ve put the phones on. Then turn it up slowly. Why? “Engineers who fry their ears find themselves with short careers.” U U U U U AUX U OO +15 U OO +15 U OO +15 U OO +15 U OO +15 U OO +15 U OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 U U U HI 12kHz -15 +15 U +15 U MID 2.5kHz -15 +15 U -15 +15 U +15 U +15 U LOW 80Hz -15 +15 HI 12kHz -15 +15 U MID 2.5kHz -15 13. XLR MAIN PANOUTS PAN +15 U HI 12kHz -15 MID 2.5kHz LOW 80Hz -15 U HI 12kHz -15 -15 +15 +15 U +15 U -15 +15 PAN OO +15 U -15 OO +15 PAN +15 U PAN L R L R L R ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER U U U U U OO +12dB OO +12dB -15 +15 SOLO OO Engaging this switch reduces the level of the balanced XLR main outputs by 40 dB, so you can feed the microphone input of, say, another mixer. (You can safely connect the XLR outputs into an input that provides 48V phantom power.) 15. CONTROL ROOM These 1⁄4" outputs are provided so you can listen to something other than the main mix. The source is selected using the SOURCE MATRIX [33] switches (see page 16). You can choose to listen to the main mix, the Alt 3-4 stereo bus (see MUTE/ALT 3-4 on page 13), So- 4 2 ALT 3–4 0 +15 PAN 2 PAN 4 The channel insert points are after the GAIN [4] and LOW CUT [3] controls, but before the channel’s EQ 9/10 11/12 MUTE [23] controls. The send (tip) is low[27]MUTE and LEVEL impedance (120 SOLO SOLO ohms), capable of driving any line-level device. The return (ring) is high-impedance (over 2.5 k ohms) and can be driven by almost any device. +12dB LEVEL 14. XLR MAIN OUTPUT LEVEL SWITCH 7 MAIN MIX +15 U LOW 80Hz -15 CLIP 10 TAPE 10 L R L R ALT 3–4 ALT 3–4 PRE FADER PRE FADER U U LEVEL SET 20 30 U +12dB 20 MID 2.5kHz 7 PRE FADER OO 0dB=0dBu +15 U LOW 80Hz -15 POWER HI 12kHz -15 +15 U PAN L R +12dB +15 U MID 2.5kHz -15 +15 +15 U LOW 80Hz L R OO OO MID 2.5kHz L R +12dB +15 +15 U HI 12kHz -15 Use these to send the main mix out into the line-level 1 2 3 4 5/6 7/8 balanced MUTE inputs ofMUTE your amplifier or powered speakers. MUTE MUTE MUTE MUTE OO OO HI 12kHz +15 U -15 SOLO SOLO SOLO SOLO These low-impedance outputs are SOLO fully balanced and capable of driving +4 dBu lines with up to 28 dB of headroom. This output is 6 dB hotter than other LEVEL LEVEL LEVEL LEVEL outputs. LEVEL +15 U U LOW 80Hz -15 AUX U These rear-panel jacks are where you connect serial effects such as compressors, equalizers, de-essers, or EQ EQ EQ filters. Since most peopleCONTROL don’t haveLEFT more RIGHTthan a few of ROOM these gadgets, we’ve included inserts for just the first SOURCE four channels. If you want to use this kind of processing on channels 5 through 12, simply patch through the processor before you plug into the 1202-VLZ3. U MID 2.5kHz LOW 80Hz -15 -15 AUX U 17. CHANNEL INSERT (Channels 1–4 ) HI 12kHz -15 MID 2.5kHz LOW 80Hz -15 BAL /UNBAL MIC PR E XDR OO +12dB OO LEVEL tip ring ASSIGN TO MAIN MIX +12dB LEVEL sleeve RUDE SOLO LIGHT U OO MAX CTL ROOM /SUBMIX (TRS plug) This plug connects to one of the mixer’s Channel Insert jacks. U OO +12dB MAIN MIX SEND to processor “tip” “ring” RETURN from processor See Appendix B for details and drawings about Insert cables, and a diagram showing three ways to use the jacks. Besides being used for inserting external devices, these jacks can also be used as channel direct outputs; post-GAIN, post-LOW CUT, and pre EQ. In fact, Mackie mic preamps have become so famous, that people buy these mixers just to have four of these in their arsenal. Owner’s Manual 11 1202-VLZ3 21 22 POWER ON PHANTOM ON WARNING: CAUTION 18 19 SERIAL NUMBER TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. RISK OF ELECTRIC SHOCK DO NOT OPEN MANUFACTURING DATE AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC. ALT OUTPUT CONTROL ROOM L MAIN BALANCED R BAL/UNBAL BAL/UNBAL R/4 L CHANNEL INSERT ( PRE-FADER / PRE EQ TIP SEND / RING RETURN ) 2 3 4 L/3 1 MAIN OUTPUT LEVEL 20 18. POWER CONNECTION 21. POWER SWITCH Just in case you lose the cord provided with the 1202VLZ3, its power jack accepts a standard 3-prong IEC MIC 1 MIC 4 2 3 cord like those foundMICon mostMICprofessional recorders, 1 musical instruments, and computers. Press the top of this rocker switch inwards to turn on the mixer. The power LED on the top surface of the mixTAPE TAPE OUTPUT INPUT er1 will glow with happiness, or at least it will if you have L L the Lmixer plugged in to a suitable live AC mains supply. R L /MONO MIC PR E XDR MIC PR E XDR MIC PR E XDR ALL BAL/UNBAL MIC PR E XDR L R 2 BAL /UNBAL R 2 R R WARNING: Before you plug the AC power cord Press the bottom of this switch to put the mixer into into the 1202-VLZ3, you must make sure that AUX SEND standby mode. ItMAINwill not function, but the circuits are still OUT the VOLTAGE SELECTOR [20] slide switch is live. To remove AC power, either turn off the AC mains supLINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 L L L L set to the same voltage as your local AC mains ply, or unplug the power cord from the mixer and the AC supply. mains supply. BAL OR UNBAL U LOW CUT 75 Hz 18dB/OCT dBV -10G A IN IC M BAL OR UNBAL U LOW CUT 75 Hz 18dB/OCT dBV -10G A IN IC M BAL OR UNBAL U LOW CUT 75 Hz 18dB/OCT dBV -10G A IN IC M BAL OR UNBAL LOW CUT 75 Hz 18dB/OCT dBV -10G A IN C I U M MONO MONO MONO MONO BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL R R R R WARNING: Disconnecting the plug’s ground LINE IN 5–6 GAIN GAIN pin can beGAIN dangerous. PleaseGAIN don’t do it. 60 0 +15dB -45dB AUX U 19. FUSE OO 60 0 +15dB -45dB +15 U AUX U OO 60 0 +15dB -45dB +15 U AUX U OO 60 0 +15dB -45dB +15 U AUX U OO +15 U AUX U OO +15 U U OO +15 OO U +15 OO U HI 12kHz -15 +15 U -15 +15 U +15 U +15 +15 U MID 2.5kHz -15 +15 U +15 U +15 U +15 U +15 U -15 +15 U LOW 80Hz -15 +15 OO EQ -15 +15 -15 OO +15 OO EQ U -15 +15 U EQ POWER HI 12kHz -15 -15 +15 U 0dB=0dBu +15 U MID 2.5kHz 20 -15 7 MAIN MIX +15 U CLIP 10 MID 2.5kHz 4 Press the top of the switch inwards to engage phantom power to the PAN four MIC inputs. Press the bottom of PAN PAN the switch to turn it off. LOW 80Hz +15 +15 U HI 12kHz MID 2.5kHz +15 U +15 U This global rocker switch controls LEFT theRIGHT phantom power CONTROL ROOM supply for condenser microphones plugged into channel SOURCE MIC [1] inputs (see page 8). +15 U LOW 80Hz -15 +15 U HI 12kHz MID 2.5kHz -15 U 22. PHANTOM SWITCH +15 U MID 2.5kHz -15 +15 OO OO HI 12kHz -15 LOW 80Hz -15 +15 U MID 2.5kHz -15 +15 OO HI 12kHz -15 LOW 80Hz -15 +15 U HI 12kHz -15 LOW 80Hz -15 OO HI 12kHz MID 2.5kHz -15 +15 U U +15 U The 1202-VLZ3 is fused for your (and its own) protecEQ EQ fuse, EQ EQ the ACEQ tion. If you suspect a blown disconnect mains power cord, pull the fuse drawer out (located just below the cord receptacle) and replace the fuse with a 500 mA (0.5 amps) SLO BLO 5x20mm, available at electronics stores or your dealer. Use a 250 mA fuse if your local voltage is 220-240 VAC.PAN PAN PAN PAN PAN OO AsLINEa INgeneral guide, you should turn on your mixer LINE IN 11–12 9–10 first, before the power amplifier or powered speakers, AUX and turnAUX it off last.AUXThis will reduce the possibilities of any turn-on, or turn-off thumps in your speakers. LINE IN 7–8 LOW 80Hz -15 +15 LOW 80Hz -15 2 ALT 3–4 0 +15 2 4 TAPE 7 LEVEL SET If two fuses blow in a row, something is very wrong. 1our toll-free 2 3 1-800-898-3211 4 5/6from 7/8 9/10 turned 11/12 Please callMUTE number When on (or off), the phantom power circuitry MUTE MUTE MUTE MUTE MUTE MUTE MUTE within the U.S. (or the distributor in your country) and takes a few moments for voltage to ramp up (or down). SOLO SOLO SOLO SOLO SOLO SOLO SOLO find out what to do.SOLO This is perfectly normal. Just like me. Oh, and my imaginary friend Lazlo who helps me write all the manuals. Say hello to the nice folks Lazlo. 20. VOLTAGE SELECTOR /SUBMIX MAIN MIX 10 L R L R L R L R L R L R L R L R ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER U U U U U U U U 20 30 OO +12dB LEVEL OO +12dB LEVEL OO +12dB LEVEL OO +12dB LEVEL OO +12dB LEVEL OO WARNING: Before you plug the AC power cord into the 1202-VLZ3, you must make sure that this slide switch is set to the same voltage as your local AC main supply. Only slide the voltage switch with the power cord unplugged. Use a flat headed screwdriver to slide the switch if needed. The switch allows you to use the mixer in different countries and voltages, meet interesting people from other cultures, and entertain them with your unique blend of Rockabilly Funkadelia Thrash Metal. 12 1202-VLZ3 +12dB LEVEL OO +12dB LEVEL OO ASSIGN TO MAIN MIX +12dB LEVEL RUDE SOLO LIGHT U OO CTL ROOM U MAX OO +12dB Owner’s Manual Channel Strip Description The eight channel strips look alike, and function iden- mix, or to just check out what a particular channel is up tically. The only difference is that the four on the left to anytime during a session. You can solo as many chanare for individual mics or mono instruments and have nels at a time as youR like.ALL BAL/UNBAL BAL/UNBAL L /MONO MIC 1 MIC 2 MIC 3 MIC 4 TAPE TAPE I I I I C C C C M M M M P P P P R R R R more gain available, while the next four are for either R RE RE RE E INPUT OUTPUT XD XD XD XD 1 L 1 Solo is also the key player in the Level-Setting Procestereo or mono line-level sources. (Each of the stereo dure on page 3. L L channel strips is actually two complete circuits. The controls are linked together to preserve stereo.) We’ll R L Soloed channels are sent to the 2SOURCE mix, which R 2 start at the bottom and work our way up… ultimately feeds your control room, phones and meterR R display. Whenever SOLO is engaged, all SOURCE selections (MAIN MIX, ALT 3-4 and TAPE) are defeated, to “U” LIKE UNITY GAIN BAL BAL BAL BAL MAIN OUT AUX SEND OR OR OR OR allow the soloedMONO signal to do just that — solo!MONO UNBAL UNBAL UNBAL UNBAL MONO MONO Mackie mixers have a “U” symbol on almost every level LINE control. This “U” stands for “unity gain,” meaning IN 1 LINE IN 2 LINE IN 3 LINE IN 4 WARNING: PRE-FADER L L SOLO taps the L chanL CUT LOW CUT LOW CUT LOW CUT no change inLOW signal level. Once the nel signal before the LEVEL knob. If you have 75 Hz 75 Hzyou have adjusted 75 Hz 75 Hz BAL BAL BAL BAL 18dB/OCT 18dB/OCT 18dB/OCT OR OR set below “U” OR(unity OR input signal at -10d18dB/OCT a channel’s LEVEL knob dBcontrol dBto BV 0dBV can set every V line-level,-1you V -10G -10G UNBAL UNBAL UNBAL UNBAL G G A A A A IN IN IN IN IC IC IC IC M M M M “U” andU your signals will U travel through U the mixer at U gain), SOLO won’t know that and will send a unity gain R R R R optimal levels. What’s more, all the labels on our level signal to the control room, phones and meter display. 60 60 60 0 0 decibels 0 so 60 0 controls+15dB are measured in (dB), you’ll know+15dB That may result in a startling level boost at these out-45dB +15dB -45dB +15dB -45dB -45dB LINE IN 11–12 LINE IN 9 –10 LINE IN 7– 8 GAIN GAIN GAIN GAIN what you’re doing level-wise if you choose to change a puts. LINE IN 5–6 control’s settings. AUX U OO OO +15 U OO OO OO +15 OO OO OO EQ U HI 12kHz -15 +15 U EQ +15 U +15 +15 U 24 +15 -15 +15 LOW LOW 25. MUTE/ALT 3–4 U AUX AUX U AUX U AUX U The dual-purpose MUTE/ALT 3–4 bus is a Mackie signature. When Greg was +15 designing our first product, +15 +15 +15 U he had to include a mute Uswitch for eachUchannel. MuteU switches do just what they sound like they do. They turn off the signal by “routing” it+15into oblivion. +15 “Gee, what a +15 +15 waste,” Greg reasoned. “Why not have the mute button U U U U EQ EQ EQ EQ route the signal somewhere else useful… like aHIsepaHI HI HI 12kHz 12kHz rate stereo bus?”12kHz So MUTE/ALT12kHz 3–4 really serves two -15 +15 -15 +15 -15 +15 functions U— muting (often used during Ua mixdown or-15 U+15 U live show), and signal routing (for multitrack and live MID MID MID MID 2.5kHz work) where it 2.5kHz acts as an extra2.5kHz stereo bus. 2.5kHz OO OO OO OO OO OO OO OO -15 +15 -15 +15 -15 +15 -15 AUX EQ HI 12kHz MID 2.5kHz +15 U U U To use this as a MUTE switch, all you have to do is U LOW use the ALT LOW LOW Then, whenever LOW you LOW not 3–4 [16] outputs. 80Hz 80Hz 80Hz 80Hz 80Hz press this switch, you will assign a channel to these un-15 +15 -15 +15 -15 +15 -15 +15 used it PAN from the main PAN mix, and PAN outputs, disconnecting PAN PAN effectively muting the channel. To use Lthis R as an ALT 3–4 L R L R L R switch, all you L R have to do L R Channels 1 through 4 use mono is connect the ALT 3–4 outputs to whatever 2 3 5/6 7/8 9/10 destination 11/12 controls, and channels 5 through4 MUTE MUTE MUTE you desire. MUTE MUTE MUTE MUTE Here are two popular examples: –4 stereo controls, ALT ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 12 3use and so they may feel slightly different. Not a PRE FADER PRE FADER PRE FADER FADER multitrack PRE FADER PRE FADER WhenPREdoing recording, use the ALT 3–4PRE FADER SOLO SOLO SOLO SOLO SOLO SOLO SOLO problem. outputs to feed your multitrack. With most decks, you U U U U U U U can "mult" the ALT 3–4 [16] outputs, using Y-cords or mults, to feed multiple tracks. So, take ALT OUTPUT L 24. PRE-FADER SOLO and send it to tracks 1, 3, 5 and 7, and ALT OUTPUT R This lovable switch+12dB allows you +12dB +12dB +12dB8. Now, tracks +12dB +12dB and send it to+12dB tracks 2, 4, 6 and that are to LEVEL hear signals through LEVEL your headLEVEL LEVEL LEVEL LEVEL LEVEL in Record or Input modes will hear the ALT 3–4 signals, phones or control room without and tracks in Playback or Safe modes will ignore them. having to route them to the main mix or ALT 3-4 mix. You don’t even When doing live sound or mixdown, it’s often handy have to have the channel’s LEVEL to control the level of several channels with one knob. [23] knob turned up. Folks use That’s called subgrouping. Simply assign these channels solo in live work to preview chanto the ALT 3–4 mix, engage ALT 3–4 in the SOURCE nels before they are let into the [33] matrix, and the signals will appear at the CONL R 1 MUTE ALT 3–4 PRE FADER SOLO U 23 OO -15 U This adjusts theU channel’s MID MIDgain at level…2.5kHz from off, to unity 2.5kHz the detent, on up to 12 dB of ad-15 +15 -15 +15 -15 +15 U U U ditional gain. 80Hz 80HzequivaThe LEVEL knob is the +15 -15 -15 fader, -15 +15 lent+15of a channel so somePAN times we PAN lapse and sayPAN the word fader. L R 25 HI 12kHz 23. LEVEL LOW 80Hz -15 EQ HI 12kHz -15 MID 2.5kHz -15 You won’t AUX have Uto check AUXit hereU and check it there, as you would with some other mixers. In fact, +15 +15 +15 U U some don’t even have any refer- U ence to actual dB levels at all! You were smart — you bought a +15 +15 +15 Mackie. U U U U +12dB LEVEL OO OO OO OO OO OO Owner’s Manual OO 13 1202-VLZ3 CONSTANT LOUDNESS ! ! ! TROL ROOM [15] and PHONES [12] outputs. If you want the ALT 3–4 signals to go back into the main mix, engage the ASSIGN TO MAIN MIX [36] switch, and the CONTROL ROOM/SUBMIX [34] level control becomes the one knob to control the levels of all the channels assigned to ALT 3–4. The 1202-VLZ3’s PAN controls employ a design called “Constant Loudness.” It has nothing to do with living next to an all-night disco. As you turn the PAN [26] knob from left to right (thereby causing the sound to move from the left to the center to the right), the sound will appear to remain at theALLsame volume (or loudness). Another way to do the same thing is assign the chanBAL/UNBAL R L /MONO MIC 1 MIC 2 MIC 3 MIC 4 TAPE TAPE MIC PR MIC PALT MICpatch PRE R R R R RE nels to the XALT mix, then out of the 3–4 D D D DR MIC P3–4 E E OUTPUT INPUT X X X 1 If you have a channel panned hard1left (or right) and OUTPUT [16]back into an unused stereo channel LINE reading 0 dB, it must dip down about 4 dB on the left L L INPUT [2]. If that’s your choice, don’t ever engage the (or right) when panned center. To do otherwise (the MUTE/ALT 3–4 switch on that stereo channel, or you’ll R L 2 way Brand X compact mixers do) would make the sound 2 have every dog in the neighborhood howling at your R R appear much louder when panned center. feedback loop. BAL/UNBAL L R BAL Another benefitBAL of the ALT 3–4BAL feature is thatBAL it can 3-BAND EQ MAIN OUT AUX SEND OR OR OR OR UNBAL UNBAL UNBAL UNBAL MONO MONO MONO MONO act as a “SIP” (Solo-In-Place): just engage a channel's The 1202-VLZ3 has 3-band equalization at carefully MUTE/ALT and IN the2 ALT 3–4LINE switch LINE 3–4 IN 1 switch LINE IN 3 in the LINE IN 4 L L L selected points — LOW shelving atL 80 Hz, MID peaking LOW CUT LOW CUT LOW CUT LOW CUT SOURCE matrix and you’ll get that channel, all 75 Hz 75 Hz 75by Hz itself, 75 Hz BAL “Shelving” BAL BAL at 2.5 kHz, and HI BAL shelving at 12 kHz. means 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT OR OR OR OR in the control and phones. dBV dBV dBV droom BV -10G -10G -10G -10G UNBAL UNBAL UNBALthe UNBAL AIN the circuitry boosts or cuts all frequencies past IC AIN IC AIN IC AIN IC that M M M M U U U U the LOW MUTE/ALT 3–4 is one of those controls that can bewil- specified frequency.RFor example, rotating R R EQ R knob 15 dB to the right boosts bass starting at 80 Hz and der newcomers, and play0 around with 0 60 60so take your 60 60 0 0 time +15dB -45dB +15dB -45dB -45dB -45dB continuing down to the lowest note you never heard. LINE IN 11–12 it. Once you’ve got it down, you’ll probably+15dB think of a +15dB LINE IN 5–6 LINE IN 9 –10 LINE IN 7– 8 GAIN GAIN GAIN GAIN “Peaking” means that certain frequencies form a “hill” hundred uses for it! around the center frequency — 2.5 kHz in the case of U U U U U U U theAUX MID EQ.U AUX 26. PAN AUX AUX AUX AUX AUX AUX 31 PAN adjusts the amount of 27. LOW EQ+15 +15 +15to the left +15 +15 +15 +15 channel signal sent U U U U U U U +15 This control gives you versus the right outputs. On +10 up to 15 dB boost or cut mono channels (ch. 1–4 or +15 +15 +15 +15 +15 +15 +15 +15 below 80 Hz. The circuit is +5 5–12 with connections to the L U U U U flat (no boost U or cut) at the U 0 U U EQ input only) EQthese controls EQact EQ EQ EQ EQ EQ –5 HI HI HI HI detent position. HI HI HI HI center This as pan pots. On stereo channels 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz –10 frequency represents the (5–12) with stereo connections -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 –15 U U drums, bass U 20 U 1k U 100 10k 20k toUL and R inputs,U the PAN knob U punch in bass Low EQ MID MID the balance control MID MID fat synth patches, MID MID MID MID guitar, works like 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz +15 and some really serious on your home stereo. -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 U U U U male singers. U U +10 U U PAN determines the fate of +5 LOW LOW LOW LOW LOW LOW LOW LOW 80Hz 80Hz 80Hz in conjunction 80Hz with 80Hz 80Hz 80Hz Used 0 the main80Hz mix and ALT 3–4 mix. +15 +15 +15 +15 +15 +15 +15 -15 +15 -15 -15 -15 -15 -15 -15 -15 –5 the LOW CUT [3] switch, With the PAN knob hard left, PAN the signal PAN PANMAIN youPAN PAN PAN can boost the PAN LOW EQ –10 PAN will feed either –15 OUT L (bus 1) or ALT OUTPUT without injecting a ton of 20 100 1k 10k 20k Cut LL(bus 3), depending on the L R subsonic debris R R L R L R L R into the L R Low EQ withL Low L R mix. position of the ALT 3–4 switch. 1 2 3 4 5/6 7/8 9/10 11/12 MUTE MUTE MUTEright, the MUTE MUTE MUTE MUTE MUTE With the knob hard ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 signal feeds MAIN OUT R (bus 28. MID EQ PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER +15 2) or ALT OUTPUT SOLO SOLO SOLOR (bus 4). SOLO SOLO SOLO Short forSOLO “midrange,” SOLO+10 U U U U U U U U this knob provides 15 dB +5 of boost or cut, centered at 0 2.5 kHz, also flat at the cen- –5 –10 +12dB +12dB +12dB +12dB +12dB +12dB EQ +12dB +12dB ter detent. Midrange LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL –15 is often thought of as the LEVEL 20 100 1k 10k 20k most dynamic, because the Mid EQ frequencies that define any particular sound are almost always found in this range. You can create many interesting and useful EQ changes by turning this knob down as well as up. OO 30 +15 U OO 29 28 27 26 OO OO OO OO OO OO OO OO OO OO OO OO OO OO Hz Hz OO OO OO OO OO 1202-VLZ3 Hz OO Hz Hz Hz Hz Hz Hz OO Hz 14 Hz Hz OO Hz Hz Hz This control gives you up to 15 dB boost or cut above 12 kHz, and it is also flat at the detent. Use it to add sizzle to cymbals, and an overall sense of transparency, or edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance, or to hide tape hiss. Each AUX send level ranges from off through unity (the center detent position) on up to 15 dB of extra gain (when turned fully clockwise). Chances are you’ll never need this extra gain, but it’s nice to know it’s there if you do. +15 +10 +5 0 –5 –10 –15 20Hz 100Hz 1kHz 10kHz 20kHz High EQ MODERATION DURING EQ With EQ, you can also screw things up royally. We’ve designed a lot of boost and cut into each equalizer circuit, because we know everyone will occasionally need that. But if you max the EQs on every channel, you’ll get mix mush. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). Very few gold-record-album engineers ever use more than about 3 dB of EQ. If you need more than that, there’s usually a better way to get it, such as placing a mic differently (or using a different kind of mic entirely). Channel 5–12 AUX knobs control the mono sum of the channel’s stereo signals for each AUX send. For instance, channel 5 (L) and 6 (R) mix together to feed that channel’s AUX send knobs. 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. If your effects device is true stereo all the way through, use AUX 1 to feed its left input and AUX 2 to feed the right input. Owner’s Manual 29. HI EQ Still with us? Good for you. Here come the tricky parts, the output or master section where the mixing is really done. We have even started it on a new page: 30. AUX 2 SEND 31. AUX 1 SEND These knobs allow you to tap a portion of each channel signal out to another source for parallel effects processing or stage monitoring. AUX send levels are controlled by these knobs and by the AUX 1 MASTER [39]. These are more than just effects and monitor sends. They can be used to generate separate mixes for recording or “mix-minuses” for broadcast. By using AUX 1 in the PRE mode, these mix levels can be obtained independently of the channel’s LEVEL control. AUX 1 in post mode and AUX 2 are post-LOW CUT, post-EQ and post-LEVEL. That is, the sends obey the settings of these controls. AUX 1 in PRE mode follows the EQ and LOW CUT settings only. PAN and LEVEL have no effect on the PRE send (see diagram below). LEVEL INPUT GAIN LO CUT INSERT PAN EQ MAIN / ALT "POST" SIGNAL OBEYS MUTE STATUS “Pre vs. Post” AUX 2 KNOB TO AUX SEND 2 LEVEL Signal Flow Diagram "POST" SIGNAL "PRE" SIGNAL AUX 1 KNOB TO AUX SEND 1 LEVEL AUX SEND 1 PRE/POST SWITCH (IN MASTER SECTION) Owner’s Manual 15 UNBAL R 1202-VLZ3 Output Section LINE IN 11–12 OO OO 33. CONTROL ROOM SOURCE MATRIX AUX U Typically, the engineer sends the main mix to an audience (if live) or a mixdown deck (if recording). But what if the engineer in the control room needs to hear something other than the main mix? With the 1202VLZ3, the engineer has several choices of what to listen to. This is one of those tricky parts, so brace yourself. +15 U +15 EQ U POWER HI 12kHz -15 +15 U MID 2.5kHz -15 33 LEFT RIGHT 0dB=0dBu 20 7 4 37 2 ALT 3–4 0 +15 2 PAN 4 TAPE 7 10 L R 11/12 MUTE ALT 3–4 36 30 ASSIGN TO MAIN MIX SOLO U 35 RUDE SOLO LIGHT U U 34 +12dB LEVEL LEVEL SET 20 PRE FADER OO CLIP 10 MAIN MIX +15 U LOW 80Hz -15 CONTROL ROOM SOURCE OO MAX CTL ROOM /SUBMIX 32 OO +12dB MAIN MIX 32. MAIN MIX This knob controls the levels of signals sent to the main outputs: XLR [13] and 1⁄4" [11] and RCA TAPE OUTPUT [10]. All channels and STEREO RETURNS [7] that are not muted or turned fully down will wind up in the main mix. Fully counterclockwise is off, the center detent is unity gain, and fully clockwise provides 12 dB of additional gain. This additional gain will typically never be needed, but once again, it’s nice to know it’s there. This is the knob to turn down at the end of the song when you want The Great Fade-Out. Via these SOURCE switches, you can choose to listen to any combination of main mix, ALT 3-4 and Tape. By now, you probably know what the main mix is. ALT 3-4 is that additional stereo mix bus. Tape is the stereo signal coming in from the TAPE INPUT [9] jacks. Selections made in the source matrix deliver stereo signals to the control room, phones and meter display. With no switches engaged, there will be no signal at these outputs and no meter indication. The exception is the solo function. Regardless of the source selection, engaging a channel’s SOLO [24] switch will replace that selection with the solo signal, also sent to the control room, phones and right meter (the left meter becomes inactive). This is what makes the Level-Setting Procedure so easy to do. WARNING: Engaging both the TAPE and ASSIGN TO MAIN MIX [36] buttons can create a feedback path between TAPE INPUT [9] and TAPE OUTPUT [10]. Make sure your tape deck is not in record, record-pause, or input-monitor mode when you engage these switches, or make sure the CONTROL ROOM / SUBMIX 34] level knob is fully counterclockwise (off). Now you know how to select the signals to send to the engineer’s control room or phones. From there, these signals all pass through the same level control: 34. CONTROL ROOM/SUBMIX This knob controls the levels of both the stereo CONTROL ROOM [15] and PHONES [12] outputs. The control range is from off through unity gain at the detent, with 10 dB of extra gain (when turned fully clockwise). When MAIN MIX is your control room source selection, those signals will now pass through two level controls on the way to your control room amp and phones — the MAIN MIX [32] knob and this CONTROL ROOM / SUBMIX knob. This way, you can send a nice healthy level to the main output (MAIN MIX knob at “U”), and a quiet level to the control room or phones (CONTROL ROOM / SUBMIX knob wherever you like it). When ALT 3-4 or TAPE is selected, or SOLO [24] is engaged, the CONTROL ROOM / SUBMIX knob will be the only one controlling these levels (channel controls not withstanding). 16 1202-VLZ3 A WORD ABOUT PRE-FADER SOLO (PFL) Engaging a channel’s SOLO [24] switch will cause this dramatic turn of events: Any existing control room source selections will be replaced by the solo signal, appearing in the control room, headphones, and in the right meter. The audible solo levels are then controlled by the CONTROL ROOM / SUBMIX [34] knob. The solo levels appearing on the right meter display are not controlled by anything — you wouldn’t want that. You want to see the actual channel level on the meter display regardless of how loud you’re listening. “PRE-FADER” SOLO means that the channel signal is being tapped before the channel’s LEVEL [23] knob (not really a fader in this case, but we were afraid you’d laugh if we called it Pre-Knob Solo). It does, however, obey GAIN [4], LOW CUT [3] and EQ [27] settings, making it the perfect tool for quick inspections of suspect channels. The channel’s PAN [26] and MUTE/ALT 3-4 [25]settings have no effect on the solo signal. Note: For stereo channels 5-12, the solo signal is the mono sum of the left (odd-numbered) and right (evennumbered) signals for that channel strip. WARNING: PRE-FADER SOLO [24] taps the channel signal before the LEVEL knob. If you have a channel’s LEVEL knob set below “U” (unity gain), SOLO won’t know that, and will send a unity gain signal to the control room, phones and meter display, that may result in a startling level boost at these outputs. 35. RUDE SOLO LIGHT This flashing Light Emitting Diode serves two purposes — to remind you that at least one channel is in solo, and to let you know that you’re mixing on a Mackie. No other company is so concerned about your level of solo awareness. If you work on a mixer that has a solo function with no indicator lights, and you happen to forget you’re in solo, you can easily be tricked into thinking that something is wrong with your mixer. Hence the RUDE SOLO LIGHT. It’s especially handy at about 3 a.m. when no sound is coming out of your monitors but your multitrack is playing back like mad. 36. ASSIGN TO MAIN MIX Let’s say you’re doing a live show. Intermission is nearing and you’ll want to play a soothing CD for the crowd to prevent them from eating the furniture. Then you think, “But I have the CD player plugged into the TAPE inputs, and that never gets to the MAIN OUTS!” Oh, but it does. Simply engage this switch and your control room source selection, after going through the CONTROL ROOM / SUBMIX [34] knob, will feed into the main mix, just as if it were another stereo channel. Another handy use for this switch is to enable the ALT 3-4 mix to become a submix of the main mix, using the CONTROL ROOM/SUBMIX knob as its level control. Owner’s Manual Whatever your selection, you can also use the CONTROL ROOM [15] outputs for other applications. Its sound quality is just as impeccable as the MAIN OUTS [11 and 13]. It can be used as additional main mix output, which may sound silly since there are already three, but this one has its own level control. However, should you do something like this, be sure that you do not engage a SOLO switch, as that will interrupt your SOURCE selection. Side effects: (1) Engaging this switch will also feed any soloed channels into the main mix, which may be the last thing you want. (2) If you have MAIN MIX as your control room source selection and then engage ASSIGN TO MAIN MIX, the main mix lines to the control room will be interrupted to prevent feedback. Then again, why would anyone want to assign the main mix to the main mix? 37. METERS – MANY DISPLAYS IN ONE! The 1202-VLZ3’s peak metering system is made up of two columns of twelve LEDs. Deceptively simple, considering the multitude of signals that can be monitored by it. If nothing is selected in the SOURCE matrix and no channels are in SOLO, the METERS will just sit there and do nothing. To put them to work, you must make a selection in the SOURCE matrix (or engage a SOLO switch). Why? You want the meter display to reflect what the engineer is listening to, and as we’ve covered, the engineer is listening either to the CONTROL ROOM [15] outputs or the PHONES [12] outputs. The only difference is that while the listening levels are controlled by the CONTROL ROOM / SUBMIX [34] knob, the meters read the SOURCE mix before that control, giving you the real facts at all times, even if you’re not listening at all. Thanks to the 1202-VLZ3’s wide dynamic range, you can get a good mix with peaks flashing anywhere between –20 and +10 dB on the METERS. Most amplifiers clip at about +10 dB, and some recorders aren’t so forgiving either. For best real-world results, try to keep your peaks between “0” and “+7”. You may already be an expert at the world of “+4” (+4 dBu=1.23 V) and “–10” (–10 dBV=0.32 V) operating levels. Basically, what makes a mixer one or the other is the relative 0 dB VU (or 0 VU) chosen for the meters. A “+4” mixer, with a +4 dBu signal pouring out the back will actually read 0 VU on its meters. A “–10” mixer, with a –10 dBV signal trickling out, will read 0VU on its meters. So when is 0 VU actually 0 dBu? Right now! Owner’s Manual 17 1202-VLZ3 APE TPUT BAL /UNBAL Remember, audio meters are just tools to help assure L you that your levels are “in the ballpark.” You don’t have to stare at them (unless you want to). L ARWord About Aux R First of all, there is no particular alliance between AUX SEND 1 (or 2) and STEREO RETURN 1 (or 2). MAIN OUT They’re just numbers. They’re like two complete strangMONO ers. O L At the risk of creating another standard, Mackie’s compact mixers address the need of both crowds by calling things as they are — 0 dBu (0.775 V) at the output shows as 0 dB VU on the METERS. What could be easier? By the way, the most wonderful thing about standards is that there are so many to choose from. L SENDS are outputs, RETURNS are inputs. The channel AUX [30 and 31] knobs tap the signal off the channel and sends it to the AUX SEND [8] outputs. AUX 1 R signal is sent to the AUX 1 MASTER [39] knob before going to the AUX SEND 1 [8] output and the AUX 2 LINE IN 11–12 signal goes directly to the AUX SEND 2 [8] output. BAL OR UNBAL X AUX U OO OO Q 39 +15 U 38 +15 EQ U HI 12kHz z -15 +15 U 40 41 LEFT RIGHT 0dB=0dBu 20 z -15 4 LOW 80Hz -15 2 ALT 3–4 0 +15 N 2 PAN 4 TAPE 7 10 L R 20 11/12 MUTE ALT 3–4 30 ASSIGN TO MAIN MIX PRE FADER SOLO U OO +12dB LEVEL 18 RUDE SOLO LIGHT U OO MAX CTL ROOM /SUBMIX 1202-VLZ3 U OO +12dB MAIN MIX Besides being used to work effects into your mix, Aux Sends serve another critical role — that of delivering cue mixes to stage monitors, so musicians can hear what they’re doing. On the 1202-VLZ3, AUX SEND 1 can play either role, depending on the position of this switch. With this switch up (disengaged), AUX SEND 1 will tap a channel pre-fader (LEVEL) and pre-MUTE/ALT 3-4, meaning that no matter how you manipulate those controls as they feed the main mix, the AUX SEND will continue to belt out that channel’s signal. This is the preferred method for setting up stage monitor feeds. EQ settings will affect all AUX SENDs. 39. AUX 1 MASTER 7 MAIN MIX +15 U 38. PRE or POST (AUX 1) CLIP 10 MID 2.5kHz So, the original “dry” signals go from the channels to the main mix and the affected “wet” signals go from the STEREO RETURN [7] to the main mix, and once mixed together, the dry and wet signals combine to create a glorious sound. So, armed with this knowledge, let’s visit the Auxiliary World: With the switch down, the AUX SEND 1 becomes an ordinary effects send — post-fader (LEVEL) and postMUTE/ALT 3-4. This is a must for effects sends, since you want the levels of your “wet” signals to follow the level of the “dry.” POWER CONTROL ROOM SOURCE These outputs can be fed to the inputs of a reverb or other device. From there, the outputs of this external device are fed back to the mixer’s STEREO RETURN [7] jacks. Then these signals are sent through the STEREO RETURN [40] level controls, and finally delivered to the main mix. LEVEL SET This knob provides overall level control of AUX SEND 1, just before it’s delivered to the AUX SEND 1 [8] output. (AUX SEND 2 has no such control.) This knob goes from off (turned fully down), to unity gain at the center detent, with 10 dB of extra gain (turned fully up). As with some other level controls, you may never need the additional gain, but if you ever do, you’ll be glad you bought a Mackie. This is usually the knob you turn up when the lead singer glares at you, points at his stage monitor, and sticks his thumb up in the air. (It would follow suit that if the singer stuck his thumb down, you’d turn the knob down… but that never happens.) 40. STEREO RETURNS These two controls set the overall level of effects received from STEREO RETURN [7] inputs 1 and 2. These controls are designed to handle a wide range of signal levels, from off, to unity gain at the detent, with 20 dB gain fully clockwise, to compensate for low-level effects. Engage the RETURN TO AUX 1 switch, and now the STEREO RETURN 2 knob will become an additional AUX SEND 1 knob for the signal at AUX RETURN 1. Say that ten times! Once again, AUX RETURN 1 will behave normally, as always. Congratulations! You’ve just read about all the features of your 1202-VLZ3. You’re probably ready for a cold one. Go ahead. The rest of the manual can wait. Signals passing through these controls will proceed directly to main mix, with one exception (see paragraph below). The STEREO RETURNs do not have MUTE/ALT 3-4 switches, so if you want these signals to get to the ALT 3-4 mix, you’ll have to patch the effects device’s outputs into one of the stereo channels, and MUTE/ALT those channels. Owner’s Manual Typically, these knobs can just live at the center detent, and the effects device’s output control should be set at whatever they call unity gain (check their manual). If that turns out to be too loud or too quiet, adjust the effects device’s outputs, not the mixer. That way, the mixer’s knobs are easy to relocate at the center detent. 41. RETURN TO AUX 1 If you want to add reverb or delay to the stage monitor mixes of AUX 1, this is the switch for you. With the switch up, STEREO RETURN 1 and 2 behave normally — they deliver their signals into the main mix. With the switch down, STEREO RETURN 1 still behaves normally, but STEREO RETURN 2 will feed AUX SEND 1 instead of the main mix. Still with us? Good. So far, with the switch down, we have STEREO RETURN 1 feeding the main mix and STEREO RETURN 2 feeding AUX SEND 1. Now, suppose you only have one effects device, and you want it to feed both the MAIN MIX and AUX SEND 1. That’s where “jack normalling” comes in: JACK NORMALLING Jack normalling (not to be confused with Jack Normalling, Chicago Cubs utility infielder, 1952-61, .267 LBA) is a feature found on almost every mixer, keyboard and effects device. These jacks have special spring-CAUTION loaded pins that connect to the signal pins, but when something is plugged into the jack, that connectionCONTROL is ROOM L MAIN broken. L R POWER ON WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT PHANTOM ON MANUFACTURING DATE AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE BALANCED SERIAL NUMBER EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. RISK OF ELECTRIC SHOCK DO NOT OPEN XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC. ALT OUTPUT BAL/UNBAL BAL/UNBAL R/4 CHANNEL INSERT ( PRE-FADER / PRE EQ TIP SEND / RING RETURN ) 4 L/3 3 2 1 These normalling pins can be used in all sorts of ways. The ubiquitous phrase “LEFT (MONO)” means that if you plug a signal into the LEFT side and have nothing in the RIGHT side, that signal is also fed to the right input, courtesy of jack normalling. As soon as you plug something in the RIGHT side, that normalled connection is broken. MAIN OUTPUT LEVEL How does all this relate to the MIC 1 MIC 2 MIC 3 RETURN TO AUX 1 [41] switch?MIC 4 1 1 STEREO RETURN 1’s inputs are 2 2 normalled to STEREO RETURN 2. If you have one effects device, plug AUX SEND it into STEREO RETURN 1. Plug nothing STEREO RETURN LINE IN 1 intoLINE IN 2 LINE IN 3 LINE2. IN 4 L L Now the signals feeding the STEREO RETURN 1 inputs will also be sent to the STEREO RETURN 2 inputs. R R R L /MONO MIC PR E XDR MIC PR E XDR MIC PR E XDR LOW CUT 75 Hz 18dB/OCT -10dBV C GAIN I U M 60 0 +15dB -45dB GAIN U AUX BAL OR UNBAL LOW CUT 75 Hz 18dB/OCT -10dBV C GAIN I U M 60 0 +15dB -45dB GAIN U AUX BAL OR UNBAL LOW CUT 75 Hz 18dB/OCT -10dBV C GAIN I U M 60 0 +15dB -45dB GAIN U AUX BAL OR UNBAL BAL OR UNBAL C GAIN I U M 60 0 +15dB -45dB GAIN U AUX LINE IN 5–6 U L L L R R AUX R MAIN OUT BAL OR UNBAL LINE IN 7–8 U AUX MONO MONO MONO MONO LOW CUT 75 Hz 18dB/OCT -10dBV BAL /UNBAL TAPE TAPE INPUT OUTPUT R L BAL OR UNBAL ALL BAL/UNBAL MIC PR E XDR L L BAL OR UNBAL BAL OR UNBAL R R LINE IN 9–10 U AUX LINE IN 11–12 U AUX Owner’s Manual 19 1202-VLZ3 Appendix A: Service Information If you think your Mackie product has a problem, please check out the following troubleshooting tips and do your best to confirm the problem. Visit the Support section of our website (www.mackie.com/support) where you will find lots of useful information such as FAQs, and documentation. You may find the answer to the problem without having to send your Mackie product away. Troubleshooting Bad Channel • Is the MUTE/ALT 3–4 switch in the correct position? • Is the LEVEL knob turned up? • Try unplugging any INSERT devices (Channels 1–4 only). • Try the same source signal in another channel, set up exactly like the suspect channel. Bad Output • Is the associated level knob (if any) turned up? • If it’s one of the MAIN OUTS, try unplugging all the others. For example, if it’s the 1⁄4" Left Main out, unplug the RCA and XLR Left outputs. If the problem goes away, its not the mixer. • If it’s a stereo pair, try switching them around. For example, if a left output is presumed dead, switch the left and right cords, at the mixer end. If the problem switches sides, it’s not the mixer. Noise • Turn the channel LEVEL and AUX RETURN knobs down, one by one. If the sound disappears, it’s either that channel or whatever is plugged into it, so unplug whatever that is. If the noise disappears, it’s from your whatever. Power • 20 Unplug the power cord and check the fuse. 1202-VLZ3 Repair For warranty service, refer to the warranty information on page 27. Non-warranty service for Mackie products is available at a factory-authorized service center. To locate your nearest service center, visit www.mackie.com, click “Support” and select “Locate a Service Center.” Service for Mackie products living outside the United States can be obtained through local dealers or distributors. If you do not have access to our website, you can call our Tech Support department at 1-800-898-3211, Monday-Friday, normal business hours, PST, to explain the problem. Tech Support will tell you where the nearest factory-authorized service center is located in your area. “XLR” Connectors Mackie mixers use 3-pin female “XLR” connectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the “high” (”hot” or positive polarity) side of the audio signal and pin 3 wired to the “low” (“cold” or negative polarity) side of the signal. See Figure A. This is all totally aboveboard and in full accord with the hallowed standards dictated by the AES (Audio Engineering Society). Use a male “XLR”-type connector, usually found on the nether end of what is called a “mic cable,” to connect to a female XLR jack. You can cook up your own adapter for a stereo microphone adapter. “Y” two cables out of a female 1⁄4" TRS jack to two male XLR plugs, one for the Right signal and one for the Left. • Balanced mono circuits. When wired as a balanced connector, a 1⁄4" TRS jack or plug is connected tip to signal high (hot), ring to signal low (cold), and sleeve to ground (earth). • Unbalanced Send/Return circuits. When wired as a send/return “Y” connector, a 1⁄4" TRS jack or plug is connected tip to signal send (output from mixer), ring to signal return (input back into mixer), and sleeve to ground (earth). 2 SHIELD HOT COLD SHIELD COLD 3 HOT 1 3 1⁄4" 1 3 TS Phone Plugs and Jacks “TS” stands for Tip-Sleeve, the two connections available on a “mono” 1⁄4" phone jack or plug. See Figure C. 1 2 SLEEVE SLEEVE TIP SHIELD COLD 2 Owner’s Manual Appendix B: Connections TIP TIP HOT Figure A: XLR Connectors SLEEVE Figure C: TS Plug 1⁄4" TRS Phone Plugs and Jacks SLEEVE SLEEVE TIP “TRS” stands for Tip-Ring-Sleeve, the three TIP 1 TIP connections available on a “stereo” ⁄4" or “balanced” phone jack or plug. See Figure B. SLEEVE TRS jacks and plugs are used in several different applications: RING SLEEVE SLEEVE RING TIP TIP RING TIP SLEEVE Figure B: 1⁄4" TRS Plugs • Stereo Headphones, and rarely, stereo microphones and stereo line connections. When wired for stereo, a 1⁄4" TRS jack or plug is connected tip to left, ring to right and sleeve to ground (earth). Mackie mixers do not directly accept 1-plug-type stereo microphones. They must be separated into a left cord and a right cord, which are plugged into the two mic preamps. TS jacks and plugs areRING used in many SLEEVE SLEEVEdifferent RING TIP a pplications, always unbalanced. The tip is connected to TIP the audio signal and the sleeve to ground (earth). Some RING examples: TIP • Unbalanced microphones • Electric guitars and electronic instruments • Unbalanced line-level connections SLEEVE Switched 1⁄4" Phone Jacks Switches can be incorporated into 1⁄4" phone jacks, which are activated by inserting the plug. These switches may open an insert loop in a circuit, change the input routing of the signal or serve other functions. Mackie uses switches in the channel insert and bus insert jacks, input jacks and stereo returns. We also use these switches to ground the line-level inputs when nothing is plugged into them. In most cases, the plug must be inserted fully to activate the switch. Mackie takes advantage of this in some circuits, specifying circumstances where you are to insert the plug only partially. See Special Mackie Connections, on the next page. Owner’s Manual 21 1202-VLZ3 RCA Plugs and Jacks Special Mackie Connections RCA-type plugs (also known as phono plugs) and jacks are often used in home stereo and video equipment and in many other applications (Figure D). They are unbalanced and electrically identical to a 1⁄4" TS phone plug or jack. See Figure C. Connect the signal to the center post and the ground (earth) or shield to the surrounding “basket.” The balanced-to-unbalanced connection has been anticipated in the wiring of Mackie jacks. A 1⁄4" TS plug inserted into a 1⁄4" TRS balanced input, for example, will automatically unbalance the input and make all the right connections. Conversely, a 1⁄4" TRS plug inserted into a 1⁄4" unbalanced input will automatically tie the ring (low or cold) to ground (earth). SLEEVE TIP SLEEVE TIP Figure D: RCA Plug Unbalancing a Line In most studio, stage and sound reinforcement situations, there is a combination of balanced and unbalanced inputs and outputs on the various pieces of equipment. This usually will not be a problem in making connections. • • • 22 When connecting a balanced output to an unbalanced input, be sure the signal high (hot) connections are wired to each other, and that the balanced signal low (cold) goes to the ground (earth) connection at the unbalanced input. In most cases, the balanced ground (earth) will also be connected to the ground (earth) at the unbalanced input. If there are ground-loop problems, this connection may be left disconnected at the balanced end. When connecting an unbalanced output to a balanced input, be sure that the signal high (hot) connections are wired to each other. The unbalanced ground (earth) connection should be wired to the low (cold) and the ground (earth) connections of the balanced input. If there are ground-loop problems, try connecting the unbalanced ground (earth) connection only to the input low (cold) connection, and leaving the input ground (earth) connection disconnected. In some cases, you will have to make up special adapters to interconnect your equipment. For example, you may need a balanced XLR female connected to an unbalanced 1⁄4" TS phone plug. 1202-VLZ3 TRS Send/Receive Insert Jacks Mackie’s single-jack inserts are the three-conductor, TRS-type 1⁄4" phone. They are unbalanced, but have both the mixer output (send) and the mixer input (return) signals in one connector. See Figure E. tip ring SEND to processor sleeve (TRS plug) This plug connects to one of the mixer’s Channel Insert jacks. “tip” “ring” RETURN from processor Figure E The sleeve is the common ground (earth) for both signals. The send from the mixer to the external unit is carried on the tip, and the return from the unit to the mixer is on the ring. Using the Send Only on an Insert Jack If you insert a TS (mono) 1⁄4" plug only partially (to the first click) into a Mackie insert jack, the plug will not activate the jack switch and will not open the insert loop in the circuit (thereby allowing the channel signal to continue on its merry way through the mixer). This allows you to tap out the channel or bus signal without interrupting normal operation. If you push the 1⁄4" TS plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel. See Figure F on the next page. NOTE: Do not overload or short-circuit the signal you are tapping from the mixer. That will affect the internal signal. Channel Insert jack Direct out with no signal interruption to master. Insert only to first “click.” A mono signal connected to the RIGHT jack will show up in the right bus only. You probably will only want to use this sophisticated effect for special occasions. MONO PLUG Channel Insert jack Direct out with signal interruption to master. Insert all the way in to the second “click.” STEREO PLUG Channel Insert jack For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect.) Figure F Mults and “Y”s A mult or “Y” connector allows you to route one output to two or more inputs by simply providing parallel wiring connections. You can make “Y”s and mults for the outputs of both unbalanced and balanced circuits. Owner’s Manual MONO PLUG A stereo signal, having two plugs, should be patched into the LEFT (MONO) and the RIGHT input or return jacks. A jack switch in the RIGHT jack will disable the mono function, and the signals will show up in stereo. Remember: Only mult or “Y” one output into several inputs. If you need to combine several outputs into one input, you must use a mixer, not a mult or a “Y.” Mackie Stereo Inputs and Returns: Mono, Stereo, Whatever Stereo line inputs and stereo returns are a fine example of the Mackie philosophy (which we just made up) of Maximum Flexibility with Minimum Headache. The inputs and returns will automatically be mono or stereo, depending upon how you use the jacks. Here’s how it works: A mono signal should be patched into the input or return jack labeled LEFT (MONO). The signal will be routed to both the left and right sides of the return circuit, and will show up in the center of the stereo pair of buses it’s assigned to, or it can be panned with the PAN [26] control. RING (IN) RING (RETURN) TIP (OUT) FROM PROCESSOR OUTPUT RING (RETURN) TIP (SEND) TO MIXER CHANNEL INSERT TO PROCESSOR INPUT TIP (SEND) Y-cord insert cable Y-cord splitter cable Owner’s Manual 23 1202-VLZ3 Appendix C: Technical Information Specifications Maximum Levels Mic in: +22 dBu Main Mix Noise Tape in: +16 dBu All other inputs: +22 dBu Main Mix XLR out: +28 dBu All other outputs: +22 dBu (20 Hz–20 kHz bandwidth, 1/4" Main out, channels 1–4 Trim @ unity gain, channel EQs flat, all channels assigned to Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right.) Main Mix knob down, channel Gain knobs down: –100 dBu Main Mix knob unity, channel Gain knobs down: –86.5 dBu (90 dB Signal to Noise Ratio, ref +4 dBu) Main Mix knob @ unity, channel Gain knobs @ unity: –84.5 dBu Total Harmonic Distortion (THD) (1 kHz @ 35 dB gain, 20 Hz–20 kHz bandwidth) Mic pre @ insert: 0.0007% Attenuation (Crosstalk) (1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity.) Impedances Mic in: 2.5 kilohms Channel Insert return: 2.5 kilohms All other inputs: 10 kilohms or greater Tape out: 1.1 kilohms All other outputs: 120 ohms EQ High Shelving ±15 dB @ 12 kHz Mid Peaking ±15 dB @ 2.5 kHz Low Shelving ±15 dB @ 80 Hz Main Mix knob down: –75 dBu Channel Alt / Mute switch engaged: –85 dBu Power Consumption Channel Gain knob down: –87 dBu 25 watts Frequency Response Fuse Rating (Mic input to any output.) 100-120V: 500 mA slo blo, 5 x 20 mm 250 mA slo blo, 5 x 20 mm 20 Hz to 60 kHz: +0 dB/–1 dB 220-240V: 20 Hz to 100 kHz: +0 dB/–3 dB Dimensions (H x W x D) 11.2" x 11.9" x 3.0" (284 mm x 303 mm x 75 mm) Equivalent Input Noise (EIN) (Mic in to Insert Send out, max gain.) Weight 150 ohm termination: –129.5 dBu 20 Hz–20 kHz 6.5 lb (3.0 kg) Common Mode Rejection Ratio (CMRR) (Mic in to Insert Send out, max gain.) 1 kHz: better than –70 dB LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components, and manufacturing methods. Therefore, we reserve the right to change these specifications at any time without notice. “Mackie,” and the “Running Man” are registered trademarks of LOUD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged. ©2006-2009 LOUD Technologies Inc. All Rights Reserved. 24 1202-VLZ3 LINE IN MIC IN 1 3 2 GAIN LINE IN R 75Hz HPF LO CUT INSERT R IN HI MID 2K5 12K LO 80 HI 2K5 12K 80 HI MID LO 3-BAND EQ 3-BAND EQ STEREO RETURN 2 L IN R IN MID 80 2K5 12K LO STEREO RETURN 1 L IN (MONO) MONO CHANNEL (1 OF 4) STEREO CHANNEL (1 OF 4) LINE IN L PHANTOM POWER GAIN LEVEL LEVEL RETURN TO AUX 1 GAIN AUX 1 AUX 2 SOLO (PFL) PAN MAIN / ALT AUX SENDS MAIN / ALT SOLO (PFL) PAN ALT R ALT L MAIN R MAIN L Owner’s Manual ALT AUX 1 PRE / POST AUX MIX ALT OUT R ALT OUT L METERING (0dBu = 0VU) 30dB PAD AUX SEND 2 AUX 1 LEVEL AUX SEND 1 PHONES OUT SOLO RELAY CONTROL ROOM & PHONES MIX RUDE SOLO LED SOURCE SOLO MIX MAIN LEVEL ASSIGN TO MAIN MAIN TAPE IN +6dB L TAPE R ALT MIX MAIN MIX 3 2 3 2 TAPE OUT R LINE OUT R BAL OUT R BAL OUT L CONTROL ROOM OUT RIGHT LEFT CONTROL ROOM & PHONES LEVEL 20 10 7 4 2 0 2 4 7 10 20 30 1 1 LINE OUT L TAPE OUT L Owner’s Manual Block Diagram LOGIC SOLO AUX SEND 2 POST AUX SEND 1 POST AUX SEND 1 PRE MACKIE 1202-VLZ3 BLOCK DIAGRAM 5/06 25 26 1202-VLZ3 +15 LEVEL OO +12dB LEVEL OO PAN LOW 80Hz MID 2.5kHz HI 12kHz EQ 2 1 AUX +12dB U U SOLO PRE FADER SOLO PRE FADER MUTE ALT 3–4 ALT 3–4 MUTE 2 PAN -15 +15 U +15 U U +15 +15 U L R +15 -15 LOW 80Hz -15 -15 OO OO U 1 +15 U -15 MID 2.5kHz HI 12kHz EQ 2 1 AUX GAIN 60 0 +15dB -45dB C GAIN I U M LOW CUT 75 Hz 18dB/OCT -10dBV LINE IN 2 BAL OR UNBAL MIC 2 MIC PR E XD R L R +15 U U +15 +15 U -15 OO OO U GAIN 60 0 +15dB -45dB I U M C GAIN LOW CUT 75 Hz 18dB/OCT -10dBV LINE IN 1 BAL OR UNBAL MIC 1 MIC PR E XD R +15 +15 U +15 U U +15 +15 U MUTE +12dB PAN LOW 80Hz MID 2.5kHz HI 12kHz EQ 2 1 AUX LEVEL OO U SOLO PRE FADER ALT 3–4 3 L R -15 -15 -15 OO OO U GAIN 60 0 +15dB -45dB C GAIN I U M LOW CUT 75 Hz 18dB/OCT -10dBV LINE IN 3 BAL OR UNBAL MIC 3 MIC PR E XD R +15 +15 U +15 U U +15 +15 U MUTE +12dB PAN LOW 80Hz MID 2.5kHz HI 12kHz EQ 2 1 AUX LEVEL OO U SOLO PRE FADER ALT 3–4 4 L R -15 -15 -15 OO OO U GAIN 60 0 +15dB -45dB C GAIN I U M LOW CUT 75 Hz 18dB/OCT -10dBV LINE IN 4 BAL OR UNBAL MIC 4 MIC PR E XD R 2 1 R R +15 +15 U +15 U U +15 +15 U MUTE +12dB PAN LOW 80Hz MID 2.5kHz HI 12kHz EQ 2 1 AUX LEVEL OO U SOLO PRE FADER ALT 3–4 5/6 L R -15 -15 -15 OO OO U +15 +15 U +15 U U +15 +15 U MUTE +12dB PAN LOW 80Hz MID 2.5kHz HI 12kHz EQ 2 1 AUX LEVEL OO U SOLO PRE FADER ALT 3–4 7/8 L R -15 -15 -15 OO OO U LINE IN 7– 8 R R LINE IN 5–6 L BAL OR UNBAL L MONO AUX SEND 2 1 ALL BAL/UNBAL BAL OR UNBAL MONO STEREO RETURN L /MONO L /MONO R BAL OR UNBAL L MONO +15 +15 U +15 U U +15 +15 U +12dB PAN LOW 80Hz MID 2.5kHz HI 12kHz EQ 2 1 AUX LEVEL OO U SOLO PRE FADER ALT 3–4 MUTE 9/10 L R -15 -15 -15 OO OO U LINE IN 9 –10 R L R L R BAL OR UNBAL L MONO MAIN OUT +15 +15 U +15 U U +15 +15 U U +12dB PAN LOW 80Hz MID 2.5kHz HI 12kHz EQ 2 1 AUX LEVEL OO U SOLO PRE FADER ALT 3–4 MUTE 11/12 L R -15 -15 -15 OO OO L R BAL/UNBAL LINE IN 11–12 TAPE TAPE INPUT OUTPUT OO MAX CTL ROOM /SUBMIX U ASSIGN TO MAIN MIX TAPE ALT 3–4 MAIN MIX CONTROL ROOM SOURCE POWER SESSION: DATE: # Cups of Tea: OO +12dB MAIN MIX U RUDE SOLO LIGHT 30 20 10 7 4 2 0 2 4 7 10 20 0dB=0dBu LEFT RIGHT LEVEL SET CLIP 1202-VLZ3 Track Sheet Please keep your sales receipt in a safe place. This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”) and is applicable to products purchased in the United States or Canada through a LOUD-authorized reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of the product (hereinafter, “Customer,” “you” or “your”). For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find contact information for your local distributor, and information on any warranty coverage provided by the distributor in your local market. Owner’s Manual Mackie Limited Warranty LOUD warrants to Customer that the product will be free from defects in materials and workmanship under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD or its authorized service representative will at its option, either repair or replace any such nonconforming product, provided that Customer gives notice of the noncompliance within the Warranty Period to the Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (tollfree in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it to obtain any warranty service. For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit www.mackie.com/warranty. The Product Warranty, together with your invoice or receipt, and the terms and conditions located at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior agreements between LOUD and Customer related to the subject matter hereof. No amendment, modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a written instrument signed by the party to be bound thereby. Owner’s Manual 27 16220 Wood-Red Road NE • Woodinville, WA 98072 • USA United States and Canada: 800.898.3211 Europe, Asia, Central and South America: 425.487.4333 Middle East and Africa: 31.20.654.4000 Fax: 425.487.4337 • www.mackie.com E-mail: sales@mackie.com
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