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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Page Count: 28

Important Safety Instructions
Read This Page!
Introduction
Hookup Diagrams
Patchbay Description
Channel Strip Description
Output Section
Appendix A: Service Information
Appendix B: Connections
Appendix C: Technical Information
1202-VLZ3 Limited Warranty

1202-VLZ3

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIXCTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

OWNER’S MANUAL

12-Channel Mic/Line Mixer



10-VLZ3

1202-VLZ3

Important Safety Instructions

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

7. 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.

13.

Use only with a cart, stand, tripod, bracket, or

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 power-

supply 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 con-

nection (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.

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 equip-

ment 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 danger-

ous exposure to high sound pressure levels, it is recommended that all

persons exposed to equipment capable of producing high sound pres-

sure 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:

PORTABLE CART

WARNING

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.

WARNING — To reduce the risk of ﬁre or electric shock, do not

expose this apparatus to rain or moisture.

Duration,

per day in

hours

Sound Level

dBA, Slow

Response

Typical Example

8 90 Duo in small club

6 92

4 95 Subway Train

3 97

2 100 Very loud classical music

1.5 102

1 105 Dave screaming at Steve about

deadlines

0.5 110

0.25 or less 115 Loudest parts at a rock concert

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.

Owner’s Manual

Part No. SW0540 Rev. C 01/09

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 ampli-

ﬁer 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.

7. Sing like a canary!

8. Plug your keyboard into stereo channel 5-6.

9. Turn that channel’s LEVEL knob to the center

detent.

10. Play like a madman and sing like a canary!

It’s your ﬁrst mix!

Read This Page!

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-quar-

ter of the way up.

The following steps must be performed one channel at

a time:

1. Turn the GAIN, LEVEL and AUX send knobs

fully down (counterclockwise).

2. Set the EQ knobs at 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 read-

just 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.”

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.

Please write your serial number here for future

reference (i.e., insurance claims, tech support,

return authorization, make dad proud, etc.)

Purchased at:

Date of purchase:

10-VLZ3

1202-VLZ3

Introduction

Thank you for choosing a Mackie professional com-

pact mixer. The 1202-VLZ3 is equipped with our pre-

cision-engineered XDRTM Extended Dynamic Range

premium studio-grade mic preamp.

Now that you have your 1202-VLZ3, ﬁnd out how to get

the most from it. That’s where this manual comes in.

How To Use This Manual

Since many of you folks will want to hook up your

1202-VLZ3 immediately, the ﬁrst pages you will en-

counter 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 “geographi-

cally;” in other words, in order of where it is physically

placed on the mixer’s top or rear panel. These descrip-

tions are divided into the ﬁrst three sections, just as

your mixer is organized into three distinct zones:

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.

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.

This icon will lead you to in-depth explana-

tions of features and practical tips. While not

mandatory, they usually have some valuable

nuggets of information.

Appendix A is a section on troubleshooting and repair

information.

Appendix B is a section on connectors: XLR connec-

tors, TRS balanced connectors, TS unbalanced connec-

tors, 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.

Need help with your new mixer?

• Visit www.mackie.com and click Support to nd:

FAQs (Frequently Asked Questions), manuals, and addendums.

• Email us at: techmail@mackie.com.

• Telephone 1-800-898-311 to speak with one of our splendid

technical support representatives, (Monday through Friday,

during normal business hours, PST).



Owner’s Manual

Contents

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

BLOCK DIAGRAM ............................................ 25

TRACK SHEET.................................................. 26

1202-VLZ3 LIMITED WARRANTY ........................... 27

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

CONSTANT LOUDNESS ! ! ! ...................... 14

3-BAND EQ ............................................ 14

27. LOW EQ ................................................. 14

28. MID EQ .................................................. 14

29. HI EQ ..................................................... 15

MODERATION DURING EQ ...................... 15

30. AUX 2 SEND .......................................... 15

31. AUX 1 SEND .......................................... 15



10-VLZ3

1202-VLZ3

Hookup Diagrams

Powered

Studio Monitors

Keyboard or other

line level input

Stereo Guitar Effects

Tape Player Out

(play)

(record)

Drum

Machine

Stereo Compressor

Mono Compressor

Direct

Boxes

Vocal Mics

Multi Effect

Processor

Digital Delay

Powered

Studio Monitors

for Studio

Headphone Distribution Amp

Headphones

for Studio

CHANNEL INSERTSSTEREO RETURNS

ALT 3-4

OUT

PHONES

OUT

INPUTS

MONO

AUX

SEND

CHANNEL

IN-TAPE-OUT

MAIN

OUT

CONTROL RM

OUTPUTS

MAIN

OUT

Out

Recording System



Owner’s Manual

Out

(play)

Tape Player

(record)

Stereo Compressor

Mono Compressor

Multi Effect

Processor

Mono Power

Amplifier

Stage Monitors

Stereo

Mono EQ

Headphones

Keyboard or other

line level input

Stereo Guitar Effects

Drum

Machine

Bass Guitar

Guitar dad

bought you

for your

birthday

Way-cooler

Guitar dad bought

your kid brother

for his

birthday

Vocal Mics

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.

SRM450

Powered

Speaker

SWA1501

Powered

Subwoofer

Direct

Boxes

CHANNEL INSERTSSTEREO RETURNS

ALT 3/4

OUT

PHONES

OUT

INPUTS

MONO

AUX

SEND

CHANNEL

IN-TAPE-OUT

MAIN

OUT

CNTRL ROOM

OUTPUTS

MAIN

OUT

Out

SRM450

Powered

Speaker

SWA1501

Powered

Subwoofer

Live Stereo PA System

10-VLZ3

1202-VLZ3

Patchbay Description

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: a tape recorder, PA system, etc.

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.

1. MIC INPUTS (Channels 1–4)

We use phantom-powered, balanced microphone

inputs just like the big studio mega-consoles, for exactly

the same reason: This kind of circuit is excellent at re-

jecting hum and noise. You can plug in almost any kind

of mic that has a standard XLR male mic connector.

Professional ribbon, dynamic, and condenser mics

will all sound excellent through these inputs. The

1202-VLZ3’s mic inputs will handle any kind of mic level

you can toss at them, without overloading. Be sure to

perform the Level-Setting Procedure on page 3.

Not every instrument is made to connect directly to a

mixer. Guitars commonly need a Direct Injection (DI)

box to connect to the mixer's MIC inputs. These boxes

convert unbalanced line-level signals from your guitar,

into balanced mic-level outputs, and provide signal and

impedance matching. They also let you send your gifted

guitar renditions over long cables or audio snakes, with

minimum interference and high-frequency signal loss.

Ask your dealer or guitar maker about their recommen-

dations for a good DI box.

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.

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 off together.)

Never plug single-ended (unbalanced) micro-

phones or instruments into the MIC [1] input

jacks if the phantom power is on.

Do not plug instrument outputs into the MIC

input jacks with phantom power on, unless

you know for certain it is safe to do so.

2. LINE INPUTS (Channels 1–4)

These four line-inputs share circuitry (but not phan-

tom power) with the mic preamps, and can be driven

by balanced or unbalanced sources at almost any level.

You can use these inputs for virtually any signal you’ll

come across, from instrument levels as low as –40 dB to

operating levels of –10 dBV to +4 dBu, since there is 40

dB more gain available than on channels 5–12.

To connect balanced lines to these inputs, use a 1⁄4"

Tip-Ring-Sleeve (TRS) plug, the type found on stereo

headphones.

To connect unbalanced lines to these inputs, use a

1⁄4" mono (TS) phone plug or standard instrument

cable.

The LINE IN inputs 1–4 are a good place to connect

older instruments that need more gain. You can correct

weak levels by adjusting the corresponding channel’s

GAIN control.

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIXCTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

5 5 5 5

Owner’s Manual

5. STEREO LINE INPUTS

(Channels 5–6, 7–8, 9–10 and 11–12)

These fully balanced inputs are designed for stereo or

mono, balanced or unbalanced signals, from –10 dBV to

+4 dBu. They can be used with just about any profes-

sional or semi-pro instrument, effect or tape player.

In the stereo audio world, an odd-numbered chan-

nel usually receives the “left signal.” For example, you

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 chan-

nel 6 jack.

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.”

6. IMAGINARY CONTROL

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!

EFFECTS: SERIAL OR PARALLEL?

The next two sections toss the terms “serial” and

“parallel” around like hacky sacks. Here’s what we mean

by them:

“Serial” means that the entire signal is routed through

the effects device. Examples: compressor/limiters,

graphic equalizers. Line-level sources can be patched

through a serial effects device before or after the mixer,

or preferably through the insert jacks located on the

rear panel (CHANNEL INSERT [17] send/return).

“Parallel” means that a portion of the signal in the

mixer is tapped off to the device (AUX SEND), pro-

cessed and returned to the mixer (STEREO RETURN)

to be mixed with the original “dry” signal. This way,

multiple channels can all make use of the same effects

device. Examples: reverb, digital delay.

3. LOW CUT (Channels 1–4)

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 micro-

phone 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 possibili-

ty 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 equaliza-

tion 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:

4. GAIN (Channels 1–4)

If you haven’t already, please read the Level-Setting

Procedure on page 3.

GAIN adjusts the input sensitivity of the mic and line

inputs connected to channels 1 through 4. This allows

signals from the outside world to be adjusted to optimal

internal operating levels.

If the signal originates through the XLR

jack, there will be 0 dB of gain with the

knob fully down, ramping to 60 dB of

gain fully up.

Through the 1⁄4" input, there is 15

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 very handy when you are inserting

a very hot signal, or when you want to add a lot of EQ

gain, or both. Without this “virtual pad,” this scenario

might lead to channel clipping.

Dry Signal Processed

Signal

Insert

Send Insert

Return

Dry Signal(s) Dry Signal(s)

Aux

Send Aux

Return

Wet Signal

Channel Path

Mix

Stage

Output

Section

Processed

Signal

Signal Processor

(e.g., Compressor)

Signal Processor

(e.g., Reverb)

Dry Signal Processed

Signal

Insert

Send Insert

Return

Dry Signal(s) Dry Signal(s)

Aux

Send Aux

Return

Wet Signal

Channel Path

Mix

Stage

Output

Section

Processed

Signal

Signal Processor

(e.g., Compressor)

Signal Processor

(e.g., Reverb)

Low Cut with Low EQ

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

100

10k

20k

–15

–10

–5

+10

+15

Low Cut

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIX

CTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

10-VLZ3

1202-VLZ3

7. STEREO RETURNS

This is where you connect the outputs of your par-

allel effects devices (or extra audio sources). These

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

or +4 dBu. They can be used with just about any pro or

semipro effects device on the market. The signals com-

ing into these inputs can be adjusted using the STEREO

RETURN [40] knobs before passing onto the main mix

bus, see page 19.

One Device: If you have just one parallel effects

device (two cords), use STEREO RETURN 1 and leave

STEREO RETURN 2 unplugged. That way, the unused

STEREO RETURN 2 level control can be used to feed

STEREO RETURN 1 to your stage monitors, via the

RETURN TO AUX 1 [41] switch.

Mono Device: If you have an effects device with

a mono output (one cord), plug that into STEREO

RETURN 1, L/MONO, and leave STEREO RETURN 1,

RIGHT, unplugged. This way the signal will be sent

to both sides, magically appearing in the center as a

mono signal. This won’t work with STEREO RETURN 2

— you’ll need a Y-cord.

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 exter-

nal parallel effects processors or stage monitoring. See

the AUX SEND details on page 15.

These 1⁄4" jacks are balanced outputs capable of de-

livering 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.

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

the mixer levels. You can also use these jacks with a

portable tape or CD player to feed music to a PA system

between sets.

WARNING: Engaging both the TAPE and

ASSIGN TO MAIN MIX buttons in the CON-

TROL ROOM SOURCE [33] matrix can create

a feedback path between TAPE INPUT and TAPE OUT-

PUT. 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).

10. TAPE OUTPUT

These unbalanced RCA connections tap the main

mix output to make simultaneous recording and PA

work more convenient. Connect these to your recorder’s

inputs. (See also MAIN MIX [32] on page 16.)

Mono Out: If you want to feed a mono signal to your

tape deck or other device, simply use an RCA Y-cord to

combine these outputs. Do not attempt this with any

other outputs on the 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, con-

nect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:

Tip = + (hot)

Ring = –(cold)

Sleeve = Ground

For most music recording and PA applications, unbal-

anced lines are ﬁne. To drive unbalanced inputs, con-

nect 1⁄4" TS (Tip–Sleeve) phone plugs like this:

Tip = + (hot)

Sleeve = Ground

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIXCTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

789 10 11

Owner’s Manual

loed channels, or the Tape input. The volume is adjust-

able with the CONTROL ROOM/SUBMIX [34]knob.

These balanced outputs are capable of delivering 22

dBu into a 600 ohm balanced or unbalanced load.

16. ALT 3–4 OUTPUT

These 1⁄4" outputs are the sum of any channels that

have the MUTE/ALT 3-4 [25] switch pressed in (see

page 13 for the tender details).

These balanced outputs are capable of delivering 22

dBu into a balanced or unbalanced load.

17. CHANNEL INSERT (Channels 1–4 )

These rear-panel jacks are where you connect serial

effects such as compressors, equalizers, de-essers, or

ﬁlters. Since most people don’t have more than a few of

these gadgets, we’ve included inserts for just the ﬁrst

four channels. If you want to use this kind of process-

ing on channels 5 through 12, simply patch through the

processor before you plug into the 1202-VLZ3.

The channel insert points are after the GAIN [4] and

LOW CUT [3] controls, but before the channel’s EQ

[27] and LEVEL [23] controls. The send (tip) is low-

impedance (120 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.

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.

12. PHONES

This stereo jack will drive any standard headphone

to very loud levels. Walkperson-type phones can also be

used with an appropriate adapter. To learn how signals

are routed to these outputs, see SOURCE MATRIX

[33] on page 16. If you’re wiring your own cable for the

PHONES output, follow standard conventions:

Tip = Left channel

Ring = Right channel

Sleeve = Common ground

WARNING: When we say the headphone

amp is loud, we’re not kidding. 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]

knob all the way down before 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.”

13. XLR MAIN OUTS

Use these to send the main mix out into the line-level

balanced inputs of your ampliﬁer or powered speakers.

These low-impedance outputs are fully balanced

and capable of driving +4 dBu lines with up to 28 dB

of headroom. This output is 6 dB hotter than other

outputs.

14. XLR MAIN OUTPUT LEVEL SWITCH

Engaging this switch reduces the level of the bal-

anced 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-

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIX

CTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

“tip”

This plug connects to one of the

mixer’s Channel Insert jacks. “ring”

tip ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

14 15 16 17

1

10-VLZ3

1202-VLZ3

18. POWER CONNECTION

Just in case you lose the cord provided with the 1202-

VLZ3, its power jack accepts a standard 3-prong IEC

cord like those found on most professional recorders,

musical instruments, and computers.

WARNING: Before you plug the AC power cord

into the 1202-VLZ3, you must make sure that

the VOLTAGE SELECTOR [20] slide switch is

set to the same voltage as your local AC mains

supply.

WARNING: Disconnecting the plug’s ground

pin can be dangerous. Please don’t do it.

19. FUSE

The 1202-VLZ3 is fused for your (and its own) protec-

tion. If you suspect a blown fuse, disconnect the AC

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.

If two fuses blow in a row, something is very wrong.

Please call our toll-free number 1-800-898-3211 from

within the U.S. (or the distributor in your country) and

ﬁnd out what to do.

20. VOLTAGE SELECTOR

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 volt-

age 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 differ-

ent countries and voltages, meet interesting people from

other cultures, and entertain them with your unique

blend of Rockabilly Funkadelia Thrash Metal.

21. POWER SWITCH

Press the top of this rocker switch inwards to turn on

the mixer. The power LED on the top surface of the mix-

er will glow with happiness, or at least it will if you have

the mixer plugged in to a suitable live AC mains supply.

Press the bottom of this switch to put the mixer into

standby mode. It will not function, but the circuits are still

live. To remove AC power, either turn off the AC mains sup-

ply, or unplug the power cord from the mixer and the AC

mains supply.

As a general guide, you should turn on your mixer

ﬁrst, before the power ampliﬁer or powered speakers,

and turn it off last. This will reduce the possibilities of

any turn-on, or turn-off thumps in your speakers.

22. PHANTOM SWITCH

This global rocker switch controls the phantom power

supply for condenser microphones plugged into channel

MIC [1] inputs (see page 8).

Press the top of the switch inwards to engage phan-

tom power to the four MIC inputs. Press the bottom of

the switch to turn it off.

When turned on (or off), the phantom power circuitry

takes a few moments for voltage to ramp up (or down).

This is perfectly normal. Just like me. Oh, and my imagi-

nary friend Lazlo who helps me write all the manuals.

Say hello to the nice folks Lazlo.

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIXCTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

21 22

Owner’s Manual

Channel Strip Description

mix, or to just check out what a particular channel is up

to anytime during a session. You can solo as many chan-

nels at a time as you like.

Solo is also the key player in the Level-Setting Proce-

dure on page 3.

Soloed channels are sent to the SOURCE mix, which

ultimately feeds your control room, phones and meter

display. Whenever SOLO is engaged, all SOURCE selec-

tions (MAIN MIX, ALT 3-4 and TAPE) are defeated, to

allow the soloed signal to do just that — solo!

WARNING: PRE-FADER SOLO taps the chan-

nel 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 out-

puts.

25. MUTE/ALT 3–4

The dual-purpose MUTE/ALT 3–4 bus is a Mackie

signature. When Greg was designing our ﬁrst product,

he had to include a mute switch for each channel. Mute

switches do just what they sound like they do. They turn

off the signal by “routing” it into oblivion. “Gee, what a

waste,” Greg reasoned. “Why not have the mute button

route the signal somewhere else useful… like a sepa-

rate stereo bus?” So MUTE/ALT 3–4 really serves two

functions — muting (often used during a mixdown or

live show), and signal routing (for multitrack and live

work) where it acts as an extra stereo bus.

To use this as a MUTE switch, all you have to do is

not use the ALT 3–4 [16] outputs. Then, whenever you

press this switch, you will assign a channel to these un-

used outputs, disconnecting it from the main mix, and

effectively muting the channel.

To use this as an ALT 3–4 switch, all you have to do

is connect the ALT 3–4 outputs to whatever destination

you desire. Here are two popular examples:

When doing multitrack recording, use the ALT 3–4

outputs to feed your multitrack. With most decks, you

can "mult" the ALT 3–4 [16] outputs, using Y-cords or

mults, to feed multiple tracks. So, take ALT OUTPUT L

and send it to tracks 1, 3, 5 and 7, and ALT OUTPUT R

and send it to tracks 2, 4, 6 and 8. Now, tracks that are

in Record or Input modes will hear the ALT 3–4 signals,

and tracks in Playback or Safe modes will ignore them.

When doing live sound or mixdown, it’s often handy

to control the level of several channels with one knob.

That’s called subgrouping. Simply assign these channels

to the ALT 3–4 mix, engage ALT 3–4 in the SOURCE

[33] matrix, and the signals will appear at the CON-

The eight channel strips look alike, and function iden-

tically. The only difference is that the four on the left

are for individual mics or mono instruments and have

more gain available, while the next four are for either

stereo or mono line-level sources. (Each of the stereo

channel strips is actually two complete circuits. The

controls are linked together to preserve stereo.) We’ll

start at the bottom and work our way up…

“U” LIKE UNITY GAIN

Mackie mixers have a “U” symbol on almost every

level control. This “U” stands for “unity gain,” meaning

no change in signal level. Once you have adjusted the

input signal to line-level, you can set every control at

“U” and your signals will travel through the mixer at

optimal levels. What’s more, all the labels on our level

controls are measured in decibels (dB), so you’ll know

what you’re doing level-wise if you choose to change a

control’s settings.

You won’t have to check it here

and check it there, as you would

with some other mixers. In fact,

some don’t even have any refer-

ence to actual dB levels at all!

You were smart — you bought a

Mackie.

23. LEVEL

This adjusts the channel’s

level… from off, to unity gain at

the detent, on up to 12 dB of ad-

ditional gain.

The LEVEL knob is the equiva-

lent of a channel fader, so some-

times we lapse and say the word

fader.

Channels 1 through 4 use mono

controls, and channels 5 through

12 use stereo controls, and so they

may feel slightly different. Not a

problem.

24. PRE-FADER SOLO

This lovable switch allows you

to hear signals through your head-

phones or control room without

having to route them to the main

mix or ALT 3-4 mix. You don’t even

have to have the channel’s LEVEL

[23] knob turned up. Folks use

solo in live work to preview chan-

nels before they are let into the

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIXCTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

10-VLZ3

1202-VLZ3

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.

Another way to do the same thing is assign the chan-

nels to the ALT 3–4 mix, then patch out of the ALT 3–4

OUTPUT [16]back into an unused stereo channel LINE

INPUT [2]. If that’s your choice, don’t ever engage the

MUTE/ALT 3–4 switch on that stereo channel, or you’ll

have every dog in the neighborhood howling at your

feedback loop.

Another beneﬁt of the ALT 3–4 feature is that it can

act as a “SIP” (Solo-In-Place): just engage a channel's

MUTE/ALT 3–4 switch and the ALT 3–4 switch in the

SOURCE matrix and you’ll get that channel, all by itself,

in the control room and phones.

MUTE/ALT 3–4 is one of those controls that can bewil-

der newcomers, so take your time and play around with

it. Once you’ve got it down, you’ll probably think of a

hundred uses for it!

26. PAN

PAN adjusts the amount of

channel signal sent to the left

versus the right outputs. On

mono channels (ch. 1–4 or

5–12 with connections to the L

input only) these controls act

as pan pots. On stereo channels

(5–12) with stereo connections

to L and R inputs, the PAN knob

works like the balance control

on your home stereo.

PAN determines the fate of

the main mix and ALT 3–4 mix.

With the PAN knob hard left,

the signal will feed either MAIN

OUT L (bus 1) or ALT OUTPUT

L (bus 3), depending on the

position of the ALT 3–4 switch.

With the knob hard right, the

signal feeds MAIN OUT R (bus

2) or ALT OUTPUT R (bus 4).

CONSTANT LOUDNESS ! ! !

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 the same volume (or loudness).

If you have a channel panned hard left (or right) and

reading 0 dB, it must dip down about 4 dB on the left

(or right) when panned center. To do otherwise (the

way Brand X compact mixers do) would make the sound

appear much louder when panned center.

3-BAND EQ

The 1202-VLZ3 has 3-band equalization at carefully

selected points — LOW shelving at 80 Hz, MID peaking

at 2.5 kHz, and HI shelving at 12 kHz. “Shelving” means

that the circuitry boosts or cuts all frequencies past the

speciﬁed frequency. For example, rotating the LOW EQ

knob 15 dB to the right boosts bass starting at 80 Hz and

continuing down to the lowest note you never heard.

“Peaking” means that certain frequencies form a “hill”

around the center frequency — 2.5 kHz in the case of

the MID EQ.

27. LOW EQ

This control gives you

up to 15 dB boost or cut

below 80 Hz. The circuit is

ﬂat (no boost or cut) at the

center detent position. This

frequency represents the

punch in bass drums, bass

guitar, fat synth patches,

and some really serious

male singers.

Used in conjunction with

the LOW CUT [3] switch,

you can boost the LOW EQ

without injecting a ton of

subsonic debris into the

mix.

28. MID EQ

Short for “midrange,”

this knob provides 15 dB

of boost or cut, centered at

2.5 kHz, also ﬂat at the cen-

ter detent. Midrange EQ

is often thought of as the

most dynamic, because the

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.

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIXCTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

100

10k

20k

–15

–10

–5

+10

+15

Mid EQ

20Hz 100Hz 1kHz 10kHz 20kHz

–15

–10

–5

+10

+15

100

10k

20k

–15

–10

–5

+10

+15

Low EQ with Low Cut

Low EQ

1

Owner’s Manual

29. HI EQ

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 transpar-

ency, or edge to keyboards,

vocals, guitar and bacon

frying. Turn it down a little

to reduce sibilance, or to

hide tape hiss.

MODERATION DURING EQ

With EQ, you can also screw things up royally. We’ve

designed a lot of boost and cut into each equalizer cir-

cuit, 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).

30. AUX 2 SEND

31. AUX 1 SEND

These knobs allow you to tap a portion of each chan-

nel signal out to another source for parallel effects

processing or stage monitoring. AUX send levels are con-

trolled 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 record-

ing or “mix-minuses” for broadcast. By using AUX 1 in

the PRE mode, these mix levels can be obtained inde-

pendently 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).

100

10k

20k

–15

–10

–5

+10

+15

High EQ

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.

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.

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:

GAIN INSERTLO CUT EQ

LEVEL PAN MAIN / ALT

AUX 2 KNOB

"POST" SIGNAL

"PRE" SIGNAL

AUX 1 KNOB

"POST" SIGNAL OBEYS

MUTE STATUS

INPUT

AUX SEND 1 PRE/POST SWITCH

(IN MASTER SECTION)

TO AUX SEND 2 LEVEL

TO AUX SEND 1 LEVEL

“Pre vs. Post”

Signal Flow Diagram

1

10-VLZ3

1202-VLZ3

Output Section

33. CONTROL ROOM SOURCE MATRIX

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 1202-

VLZ3, the engineer has several choices of what to listen

to. This is one of those tricky parts, so brace yourself.

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 CON-

TROL ROOM / SUBMIX 34] level knob is fully counter-

clockwise (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 CON-

TROL ROOM [15] and PHONES [12] outputs. The con-

trol 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 selec-

tion, those signals will now pass through two level con-

trols 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).

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 addi-

tional 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.

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIXCTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

1

Owner’s Manual

Whatever your selection, you can also use the CON-

TROL 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.

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 con-

trolled 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 sus-

pect 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 (even-

numbered) 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 purpos-

es — 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 func-

tion 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 near-

ing 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.

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 AS-

SIGN 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, consid-

ering 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 en-

gineer is listening either to the CONTROL ROOM [15]

outputs or the PHONES [12] outputs. The only differ-

ence 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 ampli-

ﬁers 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!

10-VLZ3

1202-VLZ3

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.

Remember, audio meters are just tools to help assure

you that your levels are “in the ballpark.” You don’t have

to stare at them (unless you want to).

A Word About Aux

First of all, there is no particular alliance between

AUX SEND 1 (or 2) and STEREO RETURN 1 (or 2).

They’re just numbers. They’re like two complete strang-

ers.

SENDS are outputs, RETURNS are inputs. The chan-

nel AUX [30 and 31] knobs tap the signal off the chan-

nel and sends it to the AUX SEND [8] outputs. AUX 1

signal is sent to the AUX 1 MASTER [39] knob before

going to the AUX SEND 1 [8] output and the AUX 2

signal goes directly to the AUX SEND 2 [8] output.

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIXCTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

41 40

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.

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:

38. PRE or POST (AUX 1)

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.

With the switch down, the AUX SEND 1 becomes an

ordinary effects send — post-fader (LEVEL) and post-

MUTE/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.”

39. AUX 1 MASTER

This knob provides overall level control of AUX SEND

1, just before it’s delivered to the AUX SEND 1 [8] out-

put. (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 re-

ceived 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.

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.

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.

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, sup-

pose 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-

loaded pins that connect to the signal pins, but when

something is plugged into the jack, that connection is

broken.

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 some-

thing in the RIGHT side, that normalled connection is

broken.

How does all this relate to the

RETURN TO AUX 1 [41] switch?

STEREO RETURN 1’s inputs are

normalled to STEREO RETURN 2.

If you have one effects device, plug

it into STEREO RETURN 1. Plug

nothing into STEREO RETURN 2.

Now the signals feeding the STEREO RETURN 1 inputs

will also be sent to the STEREO RETURN 2 inputs.

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 fea-

tures of your 1202-VLZ3. You’re probably ready for a cold

one. Go ahead. The rest of the manual can wait.

POWER

PHANTOM

L MAIN

MAIN

OUTPUT

LEVEL

R/4 L/3

CHANNEL INSERT

BAL/UNBALBALANCED BAL/UNBAL

ALT

OUTPUT

CONTROL

ROOM

SERIAL NUMBER MANUFACTURING DATE

RISK OF ELECTRIC SHOCK

DO NOT OPEN

REPLACE WITH THE SAME TYPE FUSE AND RATING.

DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE

UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.

DEBRANCHER AVANT DE REMPLACER LE FUSIBLE

WARNING:

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.

CAUTION

AVIS:

RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR

( PRE-FADER / PRE EQ TIP SEND / RING RETURN )

XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIXCTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15

0

10-VLZ3

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 prod-

uct 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 disap-

pears, 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

• Unplug the power cord and check the fuse.

Repair

For warranty service, refer to the warranty informa-

tion on page 27.

Non-warranty service for Mackie products is avail-

able 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 near-

est factory-authorized service center is located in your

area.

1

Owner’s Manual

“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.

1⁄4" TRS Phone Plugs and Jacks

“TRS” stands for Tip-Ring-Sleeve, the three

connections available on a “stereo” 1⁄4" or “balanced”

phone jack or plug. See Figure B.

TRS jacks and plugs are used in several different ap-

plications:

• Stereo Headphones, and rarely, stereo micro-

phones 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.

Appendix B: Connections

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 bal-

anced connector, a 1⁄4" TRS jack or plug is con-

nected 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).

1⁄4" TS Phone Plugs and Jacks

“TS” stands for Tip-Sleeve, the two connections avail-

able on a “mono” 1⁄4" phone jack or plug. See Figure C.

TS jacks and plugs are used in many different

applications, always unbalanced. The tip is connected to

the audio signal and the sleeve to ground (earth). Some

examples:

• Unbalanced microphones

• Electric guitars and electronic instruments

• Unbalanced line-level connections

Switched 1⁄4" Phone Jacks

Switches can be incorporated into 1⁄4" phone jacks,

which are activated by inserting the plug. These switch-

es 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.

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

TIPSLEEVE

TIP

RING

TIP

SLEEVERING

Figure C: TS Plug

SHIELD

COLD

HOT

SHIELD

COLD

HOT

SHIELD

COLD

HOT

Figure A: XLR Connectors

SLEEVE

TIP

TIPSLEEVE

TIP

SLEEVE

TIPSLEEVE

TIP

RING

TIP

SLEEVERING

Figure B: 1⁄4" TRS Plugs

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10-VLZ3

1202-VLZ3

Special Mackie Connections

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).

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.

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.

RCA Plugs and Jacks

RCA-type plugs (also known as phono plugs) and

jacks are often used in home stereo and video equip-

ment 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.”

Unbalancing a Line

In most studio, stage and sound reinforcement situ-

ations, there is a combination of balanced and unbal-

anced inputs and outputs on the various pieces of

equipment. This usually will not be a problem in making

connections.

• 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 discon-

nected.

• 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.

TIPSLEEVETIPSLEEVE

Figure D: RCA Plug

“tip”

This plug connects to one of the

mixer’s Channel Insert jacks. “ring”

tip ring

sleeve

SEND to processor

RETURN from processor

(TRS plug)

Figure E

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Owner’s Manual

Direct out with no signal interruption to master.

Insert only to first “click.”

Channel Insert jack

Direct out with signal interruption to master.

Insert all the way in to the second “click.”

For use as an effects loop.

(TIP = SEND to effect, RING = RETURN from effect.)

MONO PLUG

STEREO

PLUG

Figure F

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 cir-

cuit, 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.

Y-cord splitter cable

TIP

(SEND)

RING (IN)

TIP (OUT)

RING

(RETURN)

TO MIXER

CHANNEL INSERT

RING (RETURN)

TIP (SEND)

PROCESSOR

INPUT

FROM

PROCESSOR

OUTPUT

Y-cord insert cable

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.

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.

Mults and “Y”s

A mult or “Y” connector allows you to route one output

to two or more inputs by simply providing parallel wir-

ing connections. You can make “Y”s and mults for the

outputs of both unbalanced and balanced circuits.

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.”

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10-VLZ3

1202-VLZ3

Appendix C: Technical Information

Speciﬁcations

Main Mix Noise

(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.)

Main Mix knob down: –75 dBu

Channel Alt / Mute switch engaged: –85 dBu

Channel Gain knob down: –87 dBu

Frequency Response

(Mic input to any output.)

20 Hz to 60 kHz: +0 dB/–1 dB

20 Hz to 100 kHz: +0 dB/–3 dB

Equivalent Input Noise (EIN)

(Mic in to Insert Send out, max gain.)

150 ohm termination: –129.5 dBu 20 Hz–20 kHz

Common Mode Rejection Ratio (CMRR)

(Mic in to Insert Send out, max gain.)

1 kHz: better than –70 dB

Maximum Levels

Mic in: +22 dBu

Tape in: +16 dBu

All other inputs: +22 dBu

Main Mix XLR out: +28 dBu

All other outputs: +22 dBu

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

High Shelving ±15 dB @ 12 kHz

Mid Peaking ±15 dB @ 2.5 kHz

Low Shelving ±15 dB @ 80 Hz

Power Consumption

25 watts

Fuse Rating

100-120V: 500 mA slo blo, 5 x 20 mm

220-240V: 250 mA slo blo, 5 x 20 mm

Dimensions (H x W x D)

11.2" x 11.9" x 3.0" (284 mm x 303 mm x 75 mm)

Weight

6.5 lb (3.0 kg)

LOUD Technologies Inc. is always striving to improve our prod-

ucts 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 hold-

ers, and are hereby acknowledged.



Owner’s Manual

Block Diagram

75Hz

HPF

MID HI

80 2K5 12K

MID HI

80 2K5 12K

MID HI

80 2K5 12K

SOLO

RELAY

MAIN L

MAIN R

ALT L

ALT R

AUX SEND 1 PRE

AUX SEND 1 POST

AUX SEND 2 POST

SOLO

LOGIC

PHANTOM POWER

MIC IN

LINE IN

GAIN

INSERT

LO CUT

3-BAND EQ

LEVEL PAN MAIN / ALT

AUX

SENDS

SOLO (PFL)

MONO CHANNEL

(1 OF 4)

STEREO CHANNEL

(1 OF 4)

LINE IN L

LINE IN R

3-BAND EQ

LEVEL PAN

MAIN / ALT

STEREO RETURN 1

L IN

R IN

STEREO RETURN 2

L IN

(MONO)

R IN

GAIN

RETURN TO

AUX 1

MAIN MIX MAIN

LEVEL 30dB PAD

TAPE OUT L

LINE OUT L

BAL OUT L

BAL OUT R

LINE OUT R

ALT MIX

ALT OUT L

ALT OUT R

ALT

TAPE

MAIN

SOURCE

CONTROL ROOM

PHONES LEVEL

METERING

(0dBu = 0VU)

LEFT

RIGHT

CONTROL ROOM OUT

PHONES OUT

AUX MIX

AUX 1

PRE / POST

AUX SEND 2

AUX SEND 1

MACKIE 1202-VLZ3

BLOCK DIAGRAM

5/06

SOLO MIX

ASSIGN TO MAIN

TAPE IN +6dB

RCONTROL ROOM &

PHONES MIX

RUDE SOLO LED

SOLO (PFL)

AUX 2

AUX 1

AUX 1 LEVEL

TAPE OUT R

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10-VLZ3

1202-VLZ3

Track Sheet

GAIN

+15dB-45dB

LINE IN 1

MIC 1

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

BAL

UNBAL

LINE IN 2

MIC 2

BAL

UNBAL

LINE IN 3

MIC 3

BAL

UNBAL

LINE IN 4

MIC 4

BAL

UNBAL AUX SEND

L /MONO

STEREO RETURN

ALL BAL/UNBAL TAPE

INPUT TAPE

OUTPUT L

MAIN OUT

BAL/UNBAL SESSION:

DATE:

# Cups of Tea:

MONO MONO MONO MONO

LINE IN 5–6

LINE IN 7–8LINE IN 9–10 LINE IN 11–12

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

GAIN

+15dB-45dB

GAIN

+15dB-45dB

GAIN

+15dB-45dB

+15

AUX

+15-15

+15

-15

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

12kHz

MID

2.5kHz

LOW

80Hz

MUTE

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

ALT 3–4MUTE

ALT 3–4

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

PRE FADER

SOLO

LEVEL

5/6

PRE FADER

SOLO

LEVEL

7/8

PRE FADER

SOLO

LEVEL

9/10

PRE FADER

SOLO

LEVEL

11/12

PRE FADER

SOLO

LEVEL

POWER

RUDE

SOLO

LIGHT

LEVEL

SET

CONTROL

ROOM

SOURCE

ALT 3–4

TAPE

MAIN MIX

CLIP

LEFT RIGHT

0dB=0dBu

ASSIGN

TO MAIN MIX

MAIN MIX

/SUBMIXCTL ROOM

+12dB

MAX

+12dB

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15



Owner’s Manual

Mackie Limited Warranty

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.

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 (toll-

free 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.

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

1202 VLZ3 12 Channel Mic/Line Mixer Owner's Manual Mackie 1202vlz3 Om

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