802-VLZ3 8-Channel Premium Mic/Line Mixer

802-VLZ3 8-Channel Premium Mic/Line Mixer
802-VLZ3
8-Channel Premium Mic/Line Mixer
OWNER’S MANUAL
POWER
ON
POWER
802
MIC 1
MIC 2
2 MIC P
RE
XDR
MIC 3
MAIN OUT BALANCED
2 MIC P
RE
XDR
2 MIC P
RE
XDR
BAL/UNBAL
L
L
R
802
R
BAL
OR
UNBAL
LINE IN 1
MONO
BAL
OR
UNBAL
LINE IN 2
+4
MIC
L
BAL
LINE IN 3 OR
UNBAL
MAIN
OUTPUT
LEVEL
INSERT
TAPE IN
TAPE OUT
LOW CUT
100 Hz
18dB/OCT
IC GAIN
M
MONO
MONO
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
R
60
0
+15dB - 45dB
60
0
+15dB - 45dB
GAIN
AUX
U
LINE IN 5-6
GAIN
AUX
U
BAL/UNBAL
L3
L
R
+15
OO
EQ
U
+15
AUX
U
OO
EQ
U
HI
12kHz
-15
+15
U
+15
U
+15
U
-15
-15
+15
OO
EQ
+15
U
+15
U
ST RETURN
AUX
U
-15
+15
+15
U
ALT OUTPUT
+15
U
-15
+15
U
+15
U
-15
+15
LOW
80Hz
-15
PAN
+10
+20
OO
POWER
LEFT RIGHT
CONTROL
ROOM
SOURCE
0dB=0dBu
20
15
10
6
3
ALT 3-4
0
2
+15
PAN
STEREO
RETURN
SEND
MAIN MIX
+15
U
PHONES
U
MASTER
MID
2.5kHz
LOW
80Hz
-15
PAN
HI
12kHz
CR OUTPUT
AUX
U
OO
EQ
MID
2.5kHz
-15
+15
+15
U
HI
12kHz
LOW
80Hz
-15
PAN
OO
EQ
MID
2.5kHz
LOW
80Hz
-15
+15
U
-15
MID
2.5kHz
LOW
80Hz
PHANTOM
POWER
R
R
LINE IN 7-8
AUX
U
HI
12kHz
-15
MID
2.5kHz
-15
+15
U
HI
12kHz
-15
L
R4
PRE
POST
OO
BAL/UNBAL
60
0
GAIN
AUX SEND
BAL/UNBAL
LINE IN 4
dBV
-10G
IC AIN
U M
dBV
-10G
IC AIN
U M
MAIN OUT
R
R
R
INSERT
L
L
PAN
4
TAPE
7
10
L R
L R
1
L R
2
MUTE
L R
3-4
MUTE
L R
5-6
MUTE
20
7-8
MUTE
30
MUTE
ASSIGN
TO MAIN MIX
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
SOLO
SOLO
U
SOLO
U
SOLO
U
RUDE
SOLO
SOLO
U
U
U
OO
MAX
U
PHONES
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+10dB
CTL ROOM/SUBMIX
OO
+12dB
MAIN MIX
LEVEL
SET
802-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 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 overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
20.Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn
when operating the equipment in order to prevent permanent hearing
loss if exposure is in excess of the limits set forth here.
12.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.
Duration,
per day in
hours
8
6
4
3
2
1.5
1
13.Unplug this apparatus during lightning storms or when unused for long
periods of time.
0.5
110
0.25 or less 115
10.Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11.Only use attachments/accessories specified by the manufacturer.
14.Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15.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.
Sound Level
dBA, Slow
Response
90
92
95
97
100
102
105
Typical Example
Duo in small club
Subway Train
Very loud classical music
Dave screaming at Steve about
deadlines
Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
PORTABLE CART WARNING
Carts and stands - The
Component should be used
only with a cart or stand
that is recommended by
the manufacturer.
A Component and cart
combination should be
moved with care. Quick
stops, excessive force, and
uneven surfaces may cause
the Component and cart
combination to overturn.
16.This apparatus has been equipped with a 2-pole, rocker-style power
switch. This switch is located on the rear panel and should remain
readily accessible to the user.
17.WARNING: Plug the power cord into a power outlet where access to the
power cord connector is readily accessible in case power disconnection
is required.
18.ATTENTION: This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: 1) This device may
not cause harmful interference, and 2) This device must accept any
interference received, including interference that may cause undesired
operation.
19.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.
802-VLZ3
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.
We realize that you can hardly resist the
impulse to try out your new 802-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.
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. 1–3 only)
On the first three channels, it’s not even necessary
to hear what you’re ­doing to set ­the optimal levels. But
if you’d like to: Plug headphones into the phones jack,
then set the phones knob about one-quarter 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, then you might have to
readjust these levels during the middle of the
set.
6. Adjust the channel’s gain control so that the
meter display stays around “0” and never goes
higher than “+6.”
7. If you’d like to apply some EQ, do so now and
return to step 6.
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 802-VLZ3.
3. Perform the level-setting procedure.
4. Connect cords from the main outs (XLR, 1⁄4" or
RCA, your choice) to your amplifier.
Owner’s Manual
Read This Page!
5. Hook up speakers to the amp and turn it on.
6. Turn up the 802-VLZ3’s channel 1 level knob to
the center, 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.
10. Play like a madman and sing like a canary!
It’s your first mix!
Other Notes
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, control room/submix, and
phones level controls down before making connections
to and from your 802-VLZ3.
If you shut down your equipment, turn off your amplifier or powered speakers first. When powering up, turn
them on last.
Save the shipping box! You may need it someday.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
Purchased at:
8. Disengage that channel’s solo switch.
9. Repeat for each of channels 1 through 3. Note
that channel 3's gain control only affects the
mic input, not the line inputs.
Part No. SW0635 Rev. B 01/08
©2007-2008 LOUD Technologies Inc. All Rights Reserved.
(Based on a true story.)
Date of purchase:
Owner’s Manual
802-VLZ3
Introduction
Thank you for choosing a Mackie professional compact mixer. The 802-VLZ3 is equipped with three of our
precision-engineered XDR2 Extended Dynamic Range
premium studio-grade microphone preamplifiers.
TM
The small size of this mixer and the quality of its
design make it an ideal choice for recording, sound reinforcement, multimedia use, or post-production work.
Tuck it away in your home studio and use the included
Tracktion software to record your wonderful talent.
The Mackie VLZ3 series of mixers consist of the 402,
802, 1202, 1402, 1642, and 1604-VLZ3. The 802-VLZ3
mixer has more channels than a four channel mixer, but
not as many as a 12 channel mixer. Some of the features
of the 802-VLZ3 include:
• Ultra-compact 8-channel mixer
• 3 studio-grade XDR2™ Extended Dynamic
Range mic preamps
• Includes Tracktion 3 Project Bundle, music
production software for Mac/PC
• Optional mic stand adapter (see p.24)
How To Use This Manual
Since many of you folks will want to hook up your
802-VLZ3 immediately, the first pages you will encounter
after the table of contents are the ever-popular hookup
diagrams. These show typical mixer setups for various
applications.
After this ­section is a ­detailed tour of the entire
mixer, where you will 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 802-VLZ3. We recommended that you read these important notes.
• 8 high-headroom line inputs
• 2 mono mic/line channels
This icon will lead you to ­­­in-depth explanations of ­features and some practical tips. It is
possible these may even be helpful.
• 1 mono-mic/stereo-line hybrid channel
• 2 stereo line-level channels
• Tape input and output with RCA connectors
• XLR main output with switchable mic-level
output for direct connection to stage snake
• 1/4" TRS main outputs
• 3-band active EQ on each channel
• Aux send per channel, with master pre/post
switch and dedicated stereo aux return
• Instrument input switches on channels 1 and 2
– no DI box is needed
• Inserts on channels 1 and 2
• Pan control on each channel
• Low-cut filter on mic input channels
• Phantom power for studio condenser mics
• Separate main, control room, and phones outputs with independent volume controls
• Control room/phones source matrix allows
monitoring of any combination of main mix and
tape input
• Pre-Fader solo on each channel
• ALT 3/4 stereo bus for added versatility
• High-resolution 12-segment stereo meters
• Sealed rotary controls to resist dust, grime and
anchovies
• Sleek, rugged steel chassis
802-VLZ3
Appendix A is a section on troubleshooting and
service information.
Appendix B is a section on connectors.
Appendix C shows the technical specifications, and a
handy block diagram.
Tracktion
Not only do you get a shiny new 802-VLZ3 mixer, but
you also get a copy of our wonderful Tracktion 3 software. Tracktion is not required to run the mixer, but
once you start using it, you will just love it.
Tracktion is a powerful audio production and MIDI
sequencing application, designed with simplicity and
ease of use in mind. It can be easily loaded onto your PC
or Mac, and configured for your system. It is capable of
delivering professional results that only a few years ago
would have required a significant investment in expensive hardware. When you open Tracktion, you have
at your disposal all of the tools necessary to turn your
musical ideas into great sounding mixes.
The Tracktion DVD-ROM and authorization code is
supplied with your 802-VLZ3. See www.mackie.com for
system requirements and more Tracktion details.
User's forums and entire audio civilizations have
grown up around Tracktion, so we hope that you will
enjoy it and your new 802-VLZ3 mixer.
IMPORTANT SAFETY INSTRUCTIONS......................... 2
READ THIS PAGE!..................................................... 3
INTRODUCTION....................................................... 4
HOOKUP DIAGRAMS............................................... 6
PATCHBAY DESCRIPTION........................................ 11
1. MIC INPUTS (CHANNELS 1–3).................. 11
2. LINE INPUTS (CHANNELS 1–2)................. 12
3. STEREO LINE INPUTS............................... 12
4. CHANNEL INSERT (CHANNELS 1–2).......... 12
5. LOW CUT (CHANNELS 1–3)...................... 13
6. INSTRUMENT SWITCH (CHANNELS 1–2)... 13
7. GAIN (CHANNELS 1–3) . ......................... 13
8. STEREO RETURN..................................... 13
9. ALT 3–4 OUTPUT.................................... 13
10. CONTROL ROOM OUTPUTS...................... 14
11. PHONES................................................. 14
12. PHANTOM SWITCH AND LED................... 14
13. TAPE INPUT............................................ 14
14. TAPE OUTPUT......................................... 15
15. AUX SEND.............................................. 15
16. 1⁄4" MAIN OUTS...................................... 15
17. XLR MAIN OUTS .................................... 15
18. XLR MAIN OUTPUT LEVEL SWITCH........... 15
19. POWER CONNECTION.............................. 15
20. POWER SWITCH...................................... 15
CHANNEL STRIP DESCRIPTION................................ 16
21. LEVEL..................................................... 16
22. PRE-FADER SOLO.................................... 16
23. MUTE/ALT 3–4....................................... 16
24. PAN........................................................ 17
25. LOW EQ.................................................. 17
26. MID EQ................................................... 17
27. HI EQ...................................................... 17
28. AUX....................................................... 18
OUTPUT SECTION................................................... 19
29. MAIN MIX.............................................. 19
30. CONTROL ROOM SOURCE MATRIX........... 19
31. PHONES ................................................ 19
32. CONTROL ROOM/SUBMIX...................... 19
33. ASSIGN TO MAIN MIX............................. 20
34. RUDE SOLO............................................. 20
35. METERS.................................................. 20
36. PRE OR POST (AUX) .............................. 21
37. AUX MASTER SEND................................. 21
38. STEREO RETURN..................................... 21
39. POWER LED............................................ 21
APPENDIX A: SERVICE INFORMATION..................... 22
APPENDIX B: CONNECTIONS.................................. 23
APPENDIX C: TECHNICAL INFORMATION................. 25
802-VLZ3 LIMITED WARRANTY.............................. 27
Owner’s Manual
Owner’s Manual
Contents
802-VLZ3
Hookup Diagrams
Acoustic
Guitar
Microphone
Electric
Guitar
Bass
Guitar
Amplifier
modeler
DI Box
MIC 1
MIC 2
MIC 3
MAIN OUT BALANCED
BAL/UNBAL
L
L
R
802
R
BAL
OR
UNBAL
MONO
BAL
OR
UNBAL
+4
MIC
L
LINE IN 1
LINE IN 2
LINE IN 3
INSERT
INSERT
LINE IN 4
BAL
OR
UNBAL
MAIN
OUTPUT
LEVEL
L
L
R
R
TAPE IN
R
U
U
GAIN
R
R
LINE IN 5-6
GAIN
AUX
U
L
BAL
OR
UNBAL
BAL/UNBAL
L3
L
MONO
L
BAL
OR
UNBAL
R
Return
Vocal Compressor
(connected to Insert)
+15
OO
EQ
U
+15
AUX
U
OO
EQ
U
HI
12kHz
-15
+15
U
-15
+15
U
-15
+15
+15
U
LINE IN 7-8
AUX
U
ST RETURN
AUX
U
-15
+15
U
-15
+15
OO
+15
U
EQ
ALT OUTPUT
PHANTOM
POWER
R
+15
U
+15
U
-15
+15
LOW
80Hz
-15
+15
U
-15
+15
LOW
80Hz
PAN
EQ
HI
12kHz
-15
+15
U
MID
2.5kHz
-15
+15
U
-15
+15
PAN
PHONES
U
MASTER
STEREO
RETURN
SEND
+10
+20
OO
POWER
LEFT RIGHT
CONTROL
ROOM
SOURCE
0dB=0dBu
20
15
MID
2.5kHz
10
MAIN MIX
LOW
80Hz
PAN
CR OUTPUT
AUX
U
OO
HI
12kHz
-15
MID
2.5kHz
-15
+15
U
6
3
LOW
80Hz
ALT 3-4
PAN
TAPE
0
2
4
7
10
L R
L R
L R
L R
L R
1
2
3-4
5-6
7-8
MUTE
Compressor
(connected to Insert)
EQ
+15
U
HI
12kHz
-15
PAN
MUTE
ALT 3-4
Return
OO
MID
2.5kHz
LOW
80Hz
Send
+15
U
HI
12kHz
-15
MID
2.5kHz
L
R4
PRE
POST
OO
BAL/UNBAL
60
0
GAIN
AUX
U
IC GAIN
M
60
0
+15dB - 45dB
60
0
+15dB - 45dB
Send
IC GAIN
M
AUX SEND
BAL/UNBAL
MONO
LOW CUT
100 Hz
18dB/OCT
-10dBV
-10dBV
IC GAIN
M
TAPE OUT
Effects Processor
Return (connected to aux send)
MAIN OUT
MUTE
ALT 3-4
MUTE
ALT 3-4
30
MUTE
ALT 3-4
ASSIGN
TO MAIN MIX
ALT 3-4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
SOLO
SOLO
SOLO
SOLO
RUDE
SOLO
SOLO
U
OO
MAX
U
PHONES
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
LEVEL
SET
20
OO
+12dB
LEVEL
OO
+10dB
CTL ROOM/SUBMIX
OO
+12dB
MAIN MIX
SA1530z Powered Speakers
Keyboards
iPodTM
Docking Station
This diagram shows a microphone connected to the mic input of channel 1, and a vocal compressor
connected to the insert jack. A guitar is attached to the instrument input of channel 2, with the instrument
switch pressed in, and a compressor on the insert. A bass guitar is connected to channel 3's mic input via
a DI box, and another guitar plays through an amplifier modeler into channels 5 and 6. Keyboards are
connected to the line inputs of channels 7 and 8.
An effects processor is connected to the aux send, with the aux send set to post-level. Effects are added
to the main mix via the stereo return inputs, and adjusted with the stereo return level control.
To use the aux send for stage monitors instead of an effects processor, set the aux to pre-level so the
monitor volume level can be adjusted independently from the main loudspeakers.
An iPodTM docking station is connected to the tape RCA inputs, so you can play pre-recorded music
during the breaks.
The main mix output connects to a pair of SA1530z powered loudspeakers to please your audience.
Live Band PA System
802-VLZ3
Electric
Guitar
Acoustic
Guitar
Amplifier
modeler
MIC 1
MIC 2
MIC 3
HR624mkII
studio monitors
MAIN OUT BALANCED
BAL/UNBAL
L
L
R
802
R
BAL
OR
UNBAL
LINE IN 1
MONO
BAL
OR
UNBAL
LINE IN 2
+4
MIC
L
LINE IN 3
BAL
OR
UNBAL
MAIN
OUTPUT
LEVEL
INSERT
TAPE IN
Synth
GAIN
IC GAIN
M
MONO
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
LINE IN 5-6
GAIN
AUX
U
MONO
BAL/UNBAL
L3
L
R
+15
OO
EQ
U
+15
AUX
U
OO
EQ
U
HI
12kHz
-15
+15
U
-15
+15
U
+15
U
LINE IN 7-8
AUX
U
-15
+15
OO
EQ
U
+15
U
+15
U
ST RETURN
AUX
U
-15
+15
EQ
U
ALT OUTPUT
L
PHANTOM
POWER
R
+15
U
MASTER
+15
U
-15
+15
U
+15
PAN
+15
-15
PAN
0dB=0dBu
20
15
10
6
3
LOW
80Hz
ALT 3-4
PAN
TAPE
0
2
+15
4
7
10
L R
L R
L R
L R
L R
1
2
3-4
5-6
7-8
MUTE
MUTE
ALT 3-4
Electronic Drum Kit
MUTE
ALT 3-4
MUTE
ALT 3-4
20
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
SOLO
SOLO
SOLO
RUDE
SOLO
SOLO
U
OO
MAX
U
PHONES
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
Laptop
ASSIGN
TO MAIN MIX
ALT 3-4
PRE FADER
SOLO
LEVEL
SET
30
MUTE
ALT 3-4
Headphone amp
LEFT RIGHT
MAIN MIX
+15
U
PAN
+20
OO
CONTROL
ROOM
SOURCE
+15
U
LOW
80Hz
-15
+10
MID
2.5kHz
-15
STEREO
RETURN
POWER
HI
12kHz
-15
MID
2.5kHz
PHONES
U
SEND
OO
EQ
U
CR OUTPUT
AUX
U
+15
HI
12kHz
-15
LOW
80Hz
-15
PAN
OO
MID
2.5kHz
LOW
80Hz
-15
+15
HI
12kHz
-15
MID
2.5kHz
LOW
80Hz
-15
+15
HI
12kHz
-15
MID
2.5kHz
BAL/UNBAL
R4
PRE
POST
OO
Headphones
AUX SEND
60
0
GAIN
AUX
U
LOW CUT
100 Hz
18dB/OCT
60
0
+15dB - 45dB
60
0
+15dB - 45dB
TAPE OUT
BAL/UNBAL
LINE IN 4
dBV
-10G
IC AIN
U M
dBV
-10G
IC AIN
U M
MAIN OUT
R
R
R
INSERT
L
L
Owner’s Manual
Condenser
microphone
OO
+12dB
LEVEL
OO
+10dB
CTL ROOM/SUBMIX
OO
+12dB
MAIN MIX
This diagram shows a condenser microphone connected to the mic input of channel 1, with phantom
power engaged. A guitar is attached to the instrument input of channel 2, with the instrument switch
pressed in. Another guitar plays through an amplifier modeler into channels 3 and 4. A stereo synth is
connected to the line inputs of channels 5 and 6, and an electronic drum kit feeds channels 7 and 8.
The audio outputs from a laptop computer are connected to the RCA tape inputs. This allows you to
playback your recordings made using the supplied Tracktion software. The Alt 3-4 outputs are used to
feed the inputs to your computer's sound card. By pressing a mute/alt 3-4 switch, it is easy to set up a
channel to record onto your computer.
A headphone amplifier is connected to the headphones output, and feeds four pairs of headphones.
A pair of HR624mkII powered studio monitors are connected to the control room outputs.
You can use this setup to record overdub style:
1.For the track being recorded, route it to the alt 3-4 output, which feeds the computer input.
2.Monitor just the previously-recorded tracks through the tape input, which will feed the control
room/phones.
3.Since only the currently-recorded track is feeding the computer (through alt 3-4), you will hear the
previous tracks you are overdubbing to, but they will not be recorded to each new track.
4.The control room/phones is fed by a mixture of alt 3-4 (currently recorded track) and tape in (output of Tracktion playing back previously-recorded tracks).
Home Studio
Owner’s Manual
802-VLZ3
Stage monitor mix from FOH mixer
Mono synth 1
Main mix to FOH mixer
MIC 1
SRM150 powered
personal monitor
MIC 2
MAIN OUT BALANCED
BAL/UNBAL
L
L
R
802
R
BAL
OR
UNBAL
LINE IN 1
Mono synth 2
MIC 3
MONO
BAL
OR
UNBAL
LINE IN 2
+4
MIC
L
LINE IN 3
BAL
OR
UNBAL
L
MAIN
OUTPUT
LEVEL
INSERT
TAPE IN
GAIN
IC GAIN
M
MONO
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
LINE IN 5-6
GAIN
AUX
U
MONO
AUX SEND
BAL/UNBAL
L3
L
R
Synth 3
+15
OO
EQ
U
+15
AUX
U
OO
EQ
U
HI
12kHz
-15
+15
U
+15
U
LINE IN 7-8
AUX
U
+15
U
-15
+15
EQ
-15
+15
U
-15
+15
ST RETURN
AUX
U
OO
EQ
U
+15
U
ALT OUTPUT
+15
U
-15
+15
MID
2.5kHz
-15
+15
U
-15
+15
LOW
80Hz
PAN
EQ
HI
12kHz
+15
U
-15
+15
U
-15
+15
PAN
PHONES
U
MASTER
STEREO
RETURN
SEND
+10
+20
OO
POWER
LEFT RIGHT
CONTROL
ROOM
SOURCE
0dB=0dBu
20
15
MID
2.5kHz
10
MAIN MIX
LOW
80Hz
PAN
CR OUTPUT
6
3
LOW
80Hz
ALT 3-4
PAN
TAPE
0
2
4
LEVEL
SET
7
10
L R
L R
L R
L R
L R
1
2
3-4
5-6
7-8
MUTE
MUTE
ALT 3-4
MUTE
ALT 3-4
MUTE
ALT 3-4
20
30
MUTE
ALT 3-4
ASSIGN
TO MAIN MIX
ALT 3-4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
SOLO
SOLO
SOLO
SOLO
RUDE
SOLO
SOLO
U
OO
MAX
U
PHONES
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
Headphones
PHANTOM
POWER
R
AUX
U
OO
U
-15
MID
2.5kHz
-15
+15
HI
12kHz
-15
LOW
80Hz
PAN
+15
HI
12kHz
+15
U
MID
2.5kHz
LOW
80Hz
Synth 4
OO
U
-15
MID
2.5kHz
-15
+15
HI
12kHz
-15
L
R4
PRE
POST
OO
BAL/UNBAL
60
0
GAIN
AUX
U
LOW CUT
100 Hz
18dB/OCT
60
0
+15dB - 45dB
60
0
+15dB - 45dB
TAPE OUT
BAL/UNBAL
LINE IN 4
-10GdABV
IN
IC
U M
-10GdABV
IN
IC
U M
MAIN OUT
R
R
R
INSERT
L
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+10dB
CTL ROOM/SUBMIX
OO
+12dB
MAIN MIX
Stage Snake
Keyboard submix to
front-of-house
mixer
This diagram shows mono synths connected to the mono line inputs of channel 1 and 2, and stereo
synths connected to the stereo line inputs of channels 5/6, and 7/8.
The XLR main mix outputs are connected to two channels of a stage snake. The main output level switch
next to the main outputs is set to mic, and these balanced outputs are then suitable for sending over long
cable runs from the snake to the front of house mixer. Here, the keyboard submix is added to main mix
with the other instruments and vocals of your legendary all-star band.
The snake returns a stage monitor feed from the FOH mixer into channel 3's line input. Leave the channel 3 level down, so this feed is not sent to the main mix of the 802-VLZ3. Adjust the channel 3 aux control to add the stage monitor mix from the front of house mixer. Adjust the other channel's aux controls
until you are happy with the overall monitor mix of your keyboards and the band's guitars/drums/vocals
etc. Set the aux post/pre switch to pre-level to run the SRM150 as a powered stage monitor. With this arrangement, you have more control over what you hear in the monitor. You can add "more me" and "less
them," and generally adjust the monitor mix to your liking.
A pair of headphone is connected to the headphones output.
Keyboard Submixer
802-VLZ3
Desktop computer running Final CutTM
MIC 1
MIC 2
MIC 3
MAIN OUT BALANCED
BAL/UNBAL
L
L
R
802
R
BAL
OR
UNBAL
MONO
BAL
OR
UNBAL
+4
MIC
L
LINE IN 1
LINE IN 2
LINE IN 3
INSERT
INSERT
LINE IN 4
BAL
OR
UNBAL
MAIN
OUTPUT
LEVEL
L
L
R
R
TAPE IN
R
GAIN
MONO
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
LINE IN 5-6
GAIN
AUX
U
MONO
BAL/UNBAL
L3
L
R
+15
OO
EQ
U
+15
AUX
U
OO
EQ
U
HI
12kHz
-15
+15
U
+15
U
LINE IN 7-8
AUX
U
+15
U
-15
+15
OO
EQ
U
+15
U
ST RETURN
AUX
U
-15
+15
U
-15
+15
ALT OUTPUT
PHANTOM
POWER
R
EQ
+15
U
-15
+15
U
-15
+15
-15
+15
U
-15
+15
-15
+15
U
-15
+15
PAN
PAN
STEREO
RETURN
+20
OO
POWER
LEFT RIGHT
0dB=0dBu
20
15
MID
2.5kHz
10
MAIN MIX
LOW
80Hz
6
3
LOW
80Hz
ALT 3-4
PAN
TAPE
0
2
4
7
10
L R
L R
L R
L R
L R
1
2
3-4
5-6
7-8
MUTE
MUTE
MUTE
MUTE
MUTE
ASSIGN
TO MAIN MIX
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
SOLO
SOLO
SOLO
RUDE
SOLO
SOLO
OO
U
MAX
U
PHONES
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
LEVEL
SET
20
30
PRE FADER
SOLO
HR624mkII
Studio Monitors
SEND
CONTROL
ROOM
SOURCE
+15
U
MID
2.5kHz
LOW
80Hz
PAN
EQ
HI
12kHz
-15
PHONES
U
MASTER
+10
OO
U
CR OUTPUT
AUX
U
+15
HI
12kHz
MID
2.5kHz
LOW
80Hz
PAN
OO
U
-15
MID
2.5kHz
LOW
80Hz
+15
HI
12kHz
-15
MID
2.5kHz
-15
+15
HI
12kHz
-15
L
R4
PRE
POST
OO
BAL/UNBAL
60
0
GAIN
AUX
U
IC GAIN
M
60
0
+15dB - 45dB
60
0
+15dB - 45dB
AUX SEND
BAL/UNBAL
LOW CUT
100 Hz
18dB/OCT
dBV
-10G
IC AIN
U M
dBV
-10G
IC AIN
U M
TAPE OUT
MAIN OUT
Owner’s Manual
Broadcast
Microphones
OO
+12dB
LEVEL
OO
+10dB
OO
CTL ROOM/SUBMIX
+12dB
MAIN MIX
Video Monitor
Stereo sound effects
hard disk player
DV Player 2
DV Player 1
Video out
This diagram shows two voice-over microphones connected to the mic inputs of channels 1 and 2. The
stereo line-level outputs from two digital video players connect to the line inputs of channels 3/4, and
5/6.
A stereo sound effects hard disk player is connected to the line inputs of channels 7 and 8.
TM
The tape outputs connect to the line-level audio inputs of a desktop computer running Final Cut software. You will probably need a dual RCA to 1/8" adapter, or cable to connect to your computer's audio
input.
The control room outputs feed a pair of HR624mkII powered studio reference monitors. The main mix
outputs are feeding the balanced audio inputs of a video recorder.
Video Editing/Production Bay
Owner’s Manual
802-VLZ3
Condenser
microphone
Amplifier
modeler
HR624mkII
studio monitors
Electric
Guitar
TV Set
Synth
Effect
Processor
MIC 1
MIC 2
MIC 3
MAIN OUT BALANCED
BAL/UNBAL
L
L
R
802
R
BAL
OR
UNBAL
LINE IN 1
MONO
BAL
OR
UNBAL
LINE IN 2
+4
MIC
L
LINE IN 3
BAL
OR
UNBAL
MAIN
OUTPUT
LEVEL
INSERT
TAPE IN
GAIN
IC GAIN
M
MONO
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
LINE IN 5-6
GAIN
AUX
U
MONO
AUX SEND
BAL/UNBAL
L3
L
R
+15
OO
EQ
U
+15
AUX
U
OO
EQ
U
HI
12kHz
-15
+15
U
-15
+15
U
+15
U
-15
+15
U
MID
2.5kHz
LINE IN 7-8
AUX
U
+15
OO
EQ
U
+15
U
-15
+15
U
ST RETURN
AUX
U
+15
EQ
U
+15
+15
U
-15
+15
U
ALT OUTPUT
PHANTOM
POWER
R
EQ
U
HI
12kHz
-15
+15
U
-15
+15
U
-15
PAN
PAN
STEREO
RETURN
SEND
+20
OO
LEFT RIGHT
0dB=0dBu
20
15
10
MAIN MIX
6
3
LOW
80Hz
ALT 3-4
PAN
TAPE
0
2
4
7
10
L R
L R
L R
L R
1
2
3-4
5-6
7-8
MUTE
MUTE
ALT 3-4
MUTE
ALT 3-4
MUTE
ALT 3-4
MUTE
ALT 3-4
ASSIGN
TO MAIN MIX
ALT 3-4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
SOLO
SOLO
LEVEL
SET
20
30
PRE FADER
SOLO
Laptop
POWER
CONTROL
ROOM
SOURCE
+15
L R
SOLO
Headphones
PHONES
U
MASTER
+10
MID
2.5kHz
LOW
80Hz
+15
CR OUTPUT
AUX
U
OO
MID
2.5kHz
-15
PAN
+15
HI
12kHz
-15
LOW
80Hz
-15
PAN
OO
MID
2.5kHz
LOW
80Hz
-15
+15
HI
12kHz
-15
MID
2.5kHz
LOW
80Hz
-15
+15
HI
12kHz
-15
L
R4
PRE
POST
OO
BAL/UNBAL
60
0
GAIN
AUX
U
LOW CUT
100 Hz
18dB/OCT
60
0
+15dB - 45dB
60
0
+15dB - 45dB
TAPE OUT
BAL/UNBAL
LINE IN 4
dBV
-10G
IC AIN
U M
dBV
-10G
IC AIN
U M
MAIN OUT
R
R
R
INSERT
L
L
video 1
RUDE
SOLO
SOLO
U
OO
MAX
U
PHONES
Cable box
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
DVD Player
OO
+10dB
CTL ROOM/SUBMIX
OO
+12dB
MAIN MIX
video 2
This system is useful if you are short on space, or you are in love with a really nice pair of loudspeakers
and want to share them in a home theater and home studio.
A condenser microphone is connected to the mic input of channel 1, with phantom power engaged.
The line-level output from a guitar amplifier modeler feeds the line input of channel 2. A stereo synth is
connected to channels 3 and 4. A laptop computer running Tracktion is connected to the tape output, so
you can record channels 1, 2, 3, and 4.
The stereo line-level audio output from a DVD player is connected to channels 5 and 6, and a cable
box's audio output is connected to channels 7 and 8. The video output from the cable box and DVD
player connect directly to the TV monitor.
An external effects processor is connected to the aux send (in post mode) and its output connects to the
802-VLZ3 stereo return inputs.
A pair of HR624mkII powered studio monitors is connected to the control room outputs. A pair of
headphones is connected to the headphones output.
To use the home studio, sing and play your guitar, and record using Tracktion, or listen through the nice
speakers and headphones. Turn down channel 5-6 and 7-8 levels if you are not using the home theater.
To use the home theater, turn down channel 1-4's level knobs. Select a program using the cable box,
and set the channel 7-8 level knob to unity. Use the control room knob to adjust the level in your loudspeakers. If you play a DVD, turn up the channel 5-6 level control to unity. Use the TV to select which
video source you want to see.
Combined Home Studio and Home Theater
10
802-VLZ3
802
MIC 1
MIC 2
2 MIC P
RE
XDR
1
BAL
OR
UNBAL
LINE IN 1
MONO
L
3
LINE IN 3
INSERT
I
U M
6 5
IN
dBV
-10G
A
C
I
U M
60
0
+15dB - 45dB
IC GAIN
M
IN
7
60
0
+15dB - 45dB
GAIN
LOW CUT
100 Hz
18dB/OCT
7
GAIN
L
13
18
MAIN
OUTPUT
LEVEL
TAPE IN
OO
3
MONO
L
L
BAL
OR
UNBAL
LINE IN 5-6
GAIN
OO
HI
HI
HI
12kHz drawings of
12kHz
Appendix B12kHz
has details and
the connec-12kHz
-15
+15
-15
+15
-15
+15
-15 chan+15
tors youU can use withUthe 802-VLZ3.U Also see the
U
nel strip description
on page
16 for details
of the signal
MID
MID
MID
MID
2.5kHz
routing from2.5kHz
the XLR and 2.5kHz
line inputs. 2.5kHz
-15
+15
U
-15
+15
U
-15
+15
U
LOW
LOW
1.MIC INPUTS
1–3)
80Hz (Channels 80Hz
MAIN OUT
15
AUX SEND
3
BAL
OR
UNBAL
BAL/UNBAL
L3
L
8
9
R
R4
BAL/UNBAL
L
10
-15
+15
U
LOW
80Hz
LOW
80Hz
ST RETURN
PHANTOM
U
AUX POWER
ALT OUTPUT
U
PHANTOM
POWER
11
R
LINE IN 7-8
12
R
60
OO
HI
TAPE OUT
R
0
R
MONO
This isU where
everything
microphones,
U
U in: AUX
U
AUXyou plug
AUX
AUX
line-level ­instruments and effects, headphones, and
the ­ultimate
destination
for your sound:
a recorder,
PA
+15
+15
+15
+15
system,Uetc. EQ
U
U
U
EQ
EQ
EQ
OO
14
R
802
R
BAL/UNBAL
LINE IN 4
6 5
16
L
R
INSERT
dBV
-10G
A
BAL
OR
UNBAL
+4
MIC
L
R
17
BAL
OR
UNBAL
4
C
7
2
BAL/UNBAL
L
1
LINE IN 2
4
MAIN OUT BALANCED
2 MIC P
RE
XDR
1
2
5
MIC 3
2 MIC P
RE
XDR
Owner’s Manual
Patchbay Description
CR OUTPUT
AUX
PHONES
U
MASTER
STEREO
RETURN
SEND
Most modern professional
condenser mics are
+15
+10
equipped for phantom power, which lets the+20mixer
U
EQ
send
low-current
DCPOWER
voltage to the mic’s electronics
HI
through12kHz
the same CONTROL
wires that carry audio.
RIGHT
LEFT(Semi-pro
0dB=0dBu
ROOM
-15
+15
condenser
mics
often
have
batteries
to
accomplish
the
SOURCE
20
U
same thing.)
“Phantom” owes its name to an
15 ability to
MID
2.5kHz
10
be “unseen”
by dynamic
mics
(Shure
SM57/SM58,
for
MAIN MIX
-15 +15
instance),
which don’t need ­external power6 and aren’t
U
3
affectedLOW
by it anyway.
PRE
POST
OO
OO
OO
80Hz
ALT 3-4
0
2
+15 802-VLZ3’s phantom power is globally ­controlled
The
We use phantom-powered, balanced ­microphone
4
PANthe big studio
PAN mega-consoles,
PAN for ­exactly
PAN by the PAN
TAPE[12] switch. (This means the
phantom power
inputs just like
LEVEL
7
phantom power for the mic inputs of channels
1-3SETis
the same reason: This kind of circuit is­ ­excellent at re10
R
L R
L R
L R
L R
turned
on and off together.)
20
jectingLhum
and noise.
You can plug
in almost any
kind
30
1
2
3-4
5-6
7-8
of micMUTE
that has a standard ­XLR
male
mic connector.
MUTE
MUTE
MUTE
MUTE
ASSIGN
Never plug ­­
single-ended (unbalanced) micro­
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
TO MAIN MIX
RUDE
phones
or ­instruments
into the
mic [1] input
Professional
ribbon,
dynamic,PRE
and
condenser
mics
SOLO
PRE FADER
PRE FADER
FADER
PRE FADER
PRE FADER
SOLO
SOLO
SOLO
SOLO
SOLO
jacks if the ­phantom power
is on.
will all sound
excellent through these inputs. The
MAX
U
U
U
U
U
U
U
PHONES
802-VLZ3’s mic inputs will handle any kind of mic level
Do not plug instrument outputs into the mic
you can toss at them, without overloading. Be sure to
input jacks with phantom power on, ­unless
perform the level-setting procedure on page 3.
certain it is safe to do
so.
+10dB
+12dB
+12dB
+12dB
+12dB
+12dB you know for
+12dB
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
CTL ROOM/SUBMIX
MAIN MIX
Channel 3-4 is a hybrid design, with a mono mic input
Do not use phantom power with ribbon microin a stereo channel. The mono mic input is fed to both
phones.
sides of the stereo field.
-15
+15
-15
+15
-15
+15
-15
+15
-15
OO
OO
OO
OO
OO
OO
OO
OO
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. Channels 1 and 2 have an
instrument switch [6] so you do not need a DI box, and
can plug your guitar directly into the line inputs [2].
Owner’s Manual
11
802-VLZ3
MIC 1
MIC 2
2 MIC P
RE
XDR
1
BAL
OR
UNBAL
LINE IN 1
MONO
L
3
LINE IN 3
INSERT
I
U M
6 5
IN
60
0
+15dB - 45dB
GAIN
dBV
-10G
A
C
I
U M
IC GAIN
M
IN
7
60
0
+15dB - 45dB
7
GAIN
MAIN
OUTPUT
LEVEL
AUX
14
R
TAPE IN
0
U
R
R
15
AUX SEND
BAL/UNBAL
3
MONO
MONO
L
L
BAL
OR
UNBAL
3
802
MAIN OUT
TAPE OUT
BAL
OR
UNBAL
R
L
8
R
BAL/UNBAL
L3
9
R4
BAL/UNBAL
L
10
R
LINE IN 5-6
AUX
U
AUX
LINE IN 7-8
ST RETURN
ALT OUTPUT
12
PHANTOM
POWER
11
R
60
GAIN
2.LINE INPUTS
(Channels
1–2)
U
U
AUX
LOW CUT
100 Hz
18dB/OCT
L
13
18
LINE IN 4
6 5
16
L
R
INSERT
dBV
-10G
A
BAL
OR
UNBAL
+4
MIC
L
R
17
BAL
OR
UNBAL
4
C
7
2
BAL/UNBAL
L
1
LINE IN 2
4
MAIN OUT BALANCED
2 MIC P
RE
XDR
1
2
5
MIC 3
2 MIC P
RE
XDR
CR OUTPUT
PHONES
plug nothing into the right input (jacks 4, 6, or 8)— this
AUX
STEREO
U
U
U
RETURN
way theAUX
signal will appear MASTER
on both sides. This trick
is
PRE
SEND
POST
called “jack normalling.”
These inputs share circuitry (but not phantom power)
with the mic
preamps, +15
and can be driven
by balanced
+15
+15
+15
+15
+20
+10
or unbalanced
sourcesU at ­almost
U
U level. You can
U use
U
EQ
EQ any
EQ
EQ
EQ
4.CHANNEL
INSERTPOWER
(Channels 1–2)
HI
HI signal you’ll HI
HI
HI
these inputs for ­virtually
any
come across,12kHz
12kHz
12kHz
12kHz
12kHz
LEFT RIGHT
CONTROL
from instrument
levels
as low as –40
dB to operating
0dB=0dBu
jacks are where
effects
ROOM you connect serial
-15 +15
-15 +15
-15 +15
-15 +15
-15These
+15
SOURCE
20
U
U
U
U
levels ofU–10 dBV to +4
dBu, since there
is more gain
such as compressors, equalizers, de-essers,15or filters.
MID
MID
MID
MID
MID
available than2.5kHz
on line inputs
3–8.
2.5kHz
2.5kHz
2.5kHz
2.5kHz people don’t have more than a few of these
Since most
10
MAIN MIX
-15 +15
-15 +15
-15 +15
-15 +15
+15
­g-15adgets,
we’ve included
inserts for just the 6first two
U
U
U
U
U
To connect balanced lines to these inputs, use a 1⁄4"
3
channels.
If you want to use this kind of processing
on
LOW (TRS) plug,
LOW
LOW on­­ ­stereo LOW
LOW
Tip-Ring-Sleeve
the type found
80Hz
80Hz
80Hz
80Hz
80Hz
ALT 3-4
0
channels 3 through 8, simply patch your source through
headphones.
2
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
your ­processor
before you plug into the 802-VLZ3.
4
PAN
PAN
PAN
PAN
PAN
TAPE
To connect unbalanced lines to these ­inputs, use a
LEVEL
7
The channel insert points are after the gain
[7]SET
and
1⁄4" mono (TS) phone plug or standard ­instrument
10
low
L R
L R
L R
L R
L Rcut [5] controls, but before the channel’s EQ [2520
cable.
27]
1
2
3-4
5-6
7-8and level [21] controls. The send (tip)30is low-imMUTE
MUTE
MUTE
MUTE
MUTE
ASSIGN
pedance
(120 ohms),
capable
of driving any line-level
The ALT
line
a good place
older
3-4 inputs 1–2
ALT are
3-4
ALT 3-4 to connect
ALT 3-4
ALT 3-4
TO MAIN
MIX
RUDE
device.
The
return
(ring)
is
high-impedance
instruments
that
need
more
gain.
You
can
correct
weak
SOLO (over 2.5 k
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
SOLO
SOLO
SOLO
SOLO
SOLO
ohms)
and
can
be
driven
by
almost
any
device.
levels by adjusting
the ­corresponding
channel’s
gain
MAX
U
U
U
U
U
U
U
PHONES
control.
SEND to processor
OO
OO
OO
OO
OO
OO
OO
OO
tip
3.STEREO +12dB
LINE INPUTS +12dB
LEVEL7–8)
(ChannelsLEVEL
3–4, 5–6, and
OO
OO
OO
+12dB
LEVEL
OO
+12dB
LEVEL
+12dB
sleeve
“tip”
(TRS plug)
OO
+10dB
This plug connects CTL
to oneROOM/SUBMIX
of the
LEVEL
mixer’s Channel Insert jacks.
OO
+12dB
MAIN MIX
“ring”
RETURN from processor
These fully-balanced inputs are designed for ­stereo or
mono, balanced or unbalanced signals. They can be used
with just about any professional or semi-pro ­instrument,
effect or tape player.
See Appendix B for details and drawings about Insert
cables, and a diagram showing three ways to use the
jacks.
In the stereo audio world, an odd-numbered channel usually receives the “left signal.” For ­example, you
would feed the 802-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 channel 6
jack.
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
the mixers just to have some of these preamps in their
arsenal.
When connecting a mono device (just one cord),
always use the left (mono) input (jacks 3, 5, or 7) and
12
OO
ring
802-VLZ3
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
X
L MAIN
5.LOW CUT (Channels 1–3)
EFFECTS:BALANCED
SERIAL OR PARALLEL?
Each low-cut switch, often referred to as a high-pass
filter (all depends on how you look at it), cuts bass frequencies below 100 Hz at a rate of 18 dB per octave.
The next sections toss the terms “serial” and “parallel”
around like hacky sacks. Here’s what we mean by them:
We recommend that you use low-cut on ­every microphone application except kick drum, bass guitar, bassy
synth patches, or ­recordings of earthquakes. These
aside, there isn’t much down there that you want to
hear, and filtering it out makes the low stuff you do want
much more crisp and tasty. Not only that, but low-cut
can help reduce the possibility of feedback in live situations, and it helps to conserve amplifier power.
Another way to consider low-cut’s function is that it
actually adds flexibility during live performances. With
the ­addition of low-cut, you can safely use low equalization on vocals. Many times, bass shelving EQ can really
benefit voices. Trouble is, adding low EQ also boosts
stage rumble, mic handling clunks and breath pops.
Applying low-cut ­removes all those problems, so you can
MICa 2
MIC 3
1 without losing
add MIC
low EQ
woofer.
MIC PR
E
XDR
MIC PR
E
XDR
Insert
Send
Signal Processor
(e.g., Compressor)
Dry Signal
Processed
Signal
12kHz
12kHz
12kHz
BAL
R/4
Dry Signal(s)
MIC 4
Aux
DR MIC PR Send
X
Dry Signal(s)
L /MONO
1
E
AuxR
Return
Channel
L Path
Dry Signal(s)
ALL BAL/UNBAL
Output
1
Mix
Stage
Processed
Signal
Wet Signal
R
2
TA
TAPE
INPUT OUT
Section
L
Dry Signal(s)
2
R
8.STEREO RETURN
This isBAL
where you connect the outputsAUX
of your
parallel
SEND
OR
UNBAL
effects devices. They can also
be used as an extra
pair of
MONO
MONO
MONO
7.GAIN (Channels 1–3)
stereo line inputs if you have a lot of synths for example.
LINE
IN 1haven’t already,
LINE IN
2
LINE
IN 3
LINE IN 4
If you
please
read the
level-setting
L
L
TheseLOW
balanced
inputs are similar
to the stereo Lline in
LOW
CUT
LOW
CUT
LOW
CUT
CUT
procedure75onHzpage 3.
75 Hz
75 Hz
75 Hz(only without EQ, aux sends, pan, mute, and
[3] inputs
BAL
BAL
BAL
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
ORstereo or mono, balanced
OR
OR
solo).
circuits will handle
dBV
The
gain
for
channels
V and 2
V
V
10dBknobs
10dBThe
10dB1
-10G
UNBAL
UNBAL
UNBAL
IC AIN
IC GAIN
IC GAIN
IC GAIN
M
M
M
M
adjust
of the mic
U
U the input sensitivity
U
Uor unbalanced signals. They can be used with just about
any pro or semipro ­effects ­device
on the market.RThe
R
R
and line inputs. This allows signals
signals
coming
into
these
inputs
can
be
adjusted
using
from the0 outside
world to be
to
60
60
60
60
0
0 adjusted
0
+15dB -45dB
+15dB
-45dB operating
+15dB
-45dBThe
+15dB
-45dB return [38] knob before passing onto the
the
stereo
optimal
internal
levels.
–6
LINE IN 9 –10
IN 7– 8
GAIN
GAIN
GAIN
GAIN
main
mix bus (seeLINE
pageIN215for
more LINE
details).
gain control for channel 3 just affects
the channel 3 mic input only.
If you have an effects device with a mono output (one
cord),
plug that into ­stereo
return, left/mono,
and leave
If Uthe signal originates
through
the
XLR
jack,
there
U
U
U
U
AUX
AUX
AUX
AUX right, Uunplugged.
AUXThis way
AUX will U
AUX
stereo
return,
the
signal
will be 0 dB of gain with the knob fully down, ramping to
be sent to both sides, magically appearing in the center
60 dB of gain fully up.
as a mono signal.
OO
OO +15
OO +15
OO +15
OO +15
OO +15
OO +15
+15
Through
the 1⁄4" input
(ch 1 and 2 only),
there is
U
U
U
U
U
U
U
15 dB of ­attenuation fully down and 45 dB of gain fully
9.ALT 3–4 OUTPUT
up, with a “U” (unity gain) mark at 10:00. This 15 dB of
These 1⁄4" outputs are the sum of any channels that
­attenuation can be very handy when you are ­inserting
OO +15
OO +15
OO +15
OO +15
OO +15
have the mute/altOO3-4+15
[23] switch pressed
in (see pageOO +15
a very hot signal, or when you want to add a lot of EQ
U
U
U
U
U
U
16 for theEQ
tender details). The
outputs are TRSEQ
1/4" and U
gain, or both.EQ
Without this ­“virtual
EQpad,” this ­scenario
EQ
EQ
EQ
can
be
connected
to
balanced
or
unbalanced
lines.
might lead toHIchannel clipping. HI
HI
HI
HI
HI
HI
-15
BAL
OR
UNBAL
A
OU
“Parallel” means that a portion of the signal in the
Aux
Aux (aux send),
Output
mixer isSend
tapped off to the device
proReturn
Section
Insert
Insert
cessed and
Sendreturned to the mixer
Return (stereo return) to be
Signal Processor
(e.g., Reverb)
Wet Signal
Signal
Processor
mixed with the original
“dry” signal.
This way, multiple
(e.g., Compressor)
Processed
Dry Signal
channels can all make use of the same effects ­device.
Signal
Mix
Processed
Stage
Signal
Examples: reverb,
digital
delay.
Channel Path
6.INSTRUMENT SWITCH (Channels 1–2)
BAL
OR
UNBAL
L
Insert
Return
Signal Processor
(e.g., Reverb)
BAL
OR
UNBAL
BAL/UNBAL
“Serial” means that theMAIN
entire signal is routed through
OUTPUT
the effects device. Examples:
compressor/limiters,
LEVEL
graphic equalizers. Line-level sources can be patched
through a serial effects device before or after the mixer,
or preferably through the insert jacks [4].
MIC PR
E
XDR
Press these in if you want to connect a guitar or other
instrument-level source directly to the line inputs of
channels 1 and 2. You will not need a DI box, and your
guitar will perform flawlessly (well, as long as your playing is that way).
R
Owner’s Manual
CONTROL
ROOM
+15
U
-15
+15
U
MID
2.5kHz
-15
+15
U
+15
+15
U
MID
2.5kHz
-15
+15
U
LOW
80Hz
-15
-15
MID
2.5kHz
-15
+15
U
LOW
80Hz
-15
+15
12kHz
2.5kHz
-15
+15
U
LOW
80Hz
-15
+15
12kHz
12kHz
For example, you
can use these to-15
feed+15
a recorder,
-15 +15
-15 +15
and
just
record
individual
channels
by
pressing
their
U
U
U
mute/alt MID
3-4 switches one atMID
a time.
MID
2.5kHz
-15
+15
U
LOW
80Hz
-15
+15
+15
-15
+15
U
MID
2.5kHz
2.5kHz
-15
+15
U
Owner’s
Manual
LOW
80Hz
-15
12kHz
-15
+15
U
13
LOW
80Hz
-15
+15
LOW
80Hz
-15
+15
802-VLZ3
MIC 1
MIC 2
2 MIC P
RE
XDR
1
1
2
BAL
OR
UNBAL
LINE IN 1
5
I
U M
IN
C
GAIN
L
3
LINE IN 3
BAL
OR
UNBAL
+4
MIC
6 5
LOW CUT
100 Hz
18dB/OCT
IC GAIN
M
IN
7
7
60
0
+15dB - 45dB
GAIN
L
TAPE IN
0
U
OO
R
TAPE OUT
R
3
MONO
MONO
L
L
BAL
OR
UNBAL
3
BAL
OR
UNBAL
802
MAIN OUT
15
AUX SEND
BAL/UNBAL
L
8
R
BAL/UNBAL
L3
9
R4
BAL/UNBAL
L
10
LINE IN 5-6
AUX
U
AUX
OO
OO
ST RETURN
ALT OUTPUT
PHANTOM
POWER
11
R
LINE IN 7-8
12
R
60
These TRS 1⁄4" balanced/unbalanced outputs al+15
low you to+15listen to something
other +15
than the main+15
U
U
U
U
EQ
EQ
mix. These outputs are often used to run EQ
a nice pair
of EQ
HI
HI
HI
HI
12kHz
12kHz The source
12kHz
powered studio
monitors in12kHz
a control room.
-15 +15using the
-15source
+15
-15 [30]
+15
-15 +15
is selected
matrix
switches
(see
U
U
U
U
page 19). You MID
can choose toMID
listen to the MID
main mix, theMID
2.5kHz
2.5kHz
alt 3-4 stereo 2.5kHz
bus (see mute/alt
3-4 on page
16), soloed2.5kHz
-15 +15
-15 +15
-15 +15
-15 +15
channels,
input. The volume
is adjustable
U or the tape U
U
U
with the control
LOW room/submix
LOW [32] knob.LOW
LOW
OO
14
R
R
GAIN
10. CONTROL
ROOMU OUTPUTS
U
AUX
AUX
16
13
MAIN
OUTPUT
LEVEL
L
R
L
18
LINE IN 4
dBV
-10G
A
I
U M
60
0
+15dB - 45dB
MONO
R
6 5
BAL/UNBAL
L
17
BAL
OR
UNBAL
INSERT
dBV
-10G
A
C
7
2
4
INSERT
MAIN OUT BALANCED
2 MIC P
RE
XDR
1
LINE IN 2
4
MIC 3
2 MIC P
RE
XDR
CR OUTPUT
12.U PHANTOM
SWITCH
and
AUX LED
U
AUX
PHONES
U
MASTER
STEREO
RETURN
SEND
This global switch controls
the phantom power supply
+15
+10
for condenser microphones plugged into the+20mic [1] inU
puts.
SeeEQ
the phantom
power details on page 11 before
POWER
HI
12kHz
using this
switch. CONTROL
LEFT RIGHT
PRE
POST
OO
-15
OO
OO
ROOM
+15
0dB=0dBu
SOURCE
20
U
Press
the switch in
to engage phantom power
to the
15
MID
three mic
inputs.
Press
the
switch
out
to
turn
it
off.
The
2.5kHz
10
MAIN
MIX
LED
will come on when phantom power is engaged.
-15 +15
6
U
3
Phantom power
is supplied to all 0three mic
ALT 3-4
inputs
at
once,
therefore,
do not use
a rib2
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
bon
microphone
in
any
of
these
inputs
when
4
11. PHONESPAN
PAN
PAN
PAN
PAN
TAPE
LEVEL
7
phantom power is engaged.
SET
This stereo jack will drive any standard headphone to
10
L R
L R
L R
L R
L R
very loud levels. "iPod"-type and computer headphones
20
13.
30
5-6
7-8TAPE INPUT
can also1be used here,2with a 1/4" 3-4
male to 1/8" female
MUTE
MUTE
MUTE
MUTE
MUTE
ASSIGN
3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
TO MAIN MIX
stereo ALT
adapter.
Connect your computer
audio outputs,RUDE
or tape recordSOLO
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE
FADER
er’s
outputs
here, ­using
standard
hi-fi
(RCA)
cables.
SOLO how signals
SOLO
SOLO see
SOLO
To learn
are routedSOLO
to these outputs,
MAX
U
U
U
U
U
U
U
source matrix [30] on page 19. The level is adjusted
PHONES
Use these jacks for convenient
tape playback of your
with the phones knob [31], and the source is whatever
mixes. You’ll be able to review a mix and then rewind
the control room output is playing, such as the main
and try another pass without repatching or disturbing
+10dB
+12dB
+12dB
+12dB
+12dB
+12dB
mix, the LEVEL
alt+12dB
3-4 stereo LEVEL
bus,
soloed channels,
or
the
tape
the LEVEL
mixer
levels.
can
also use these MAIN
jacks
with a
LEVEL
LEVEL
CTLYou
ROOM/SUBMIX
MIX
input. If you’re wiring your own cable for the phones
portable tape or CD player to feed ­music to a PA system
output, follow ­standard conventions:
between sets.
80Hz
80Hz
80Hz
LOW
80Hz
80Hz
OO
OO
OO
OO
OO
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
WARNING: The headphone amp is loud, and
can cause permanent ear damage. Even
intermediate levels may be painfully loud with
some earphones. BE CAREFUL! Always turn the phones
[31] knob all the way down before connecting headphones. Keep it down until you’ve put the phones on.
Then turn it up slowly.
14
802-VLZ3
OO
OO
OO
WARNING: engaging both the tape and ­assign
to main mix ­buttons in the control room
source [30] matrix can create a feedback
path between tape input and tape output. 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 [32] level knob is
fully counterclockwise (off).
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 [29] on page 19.)
Owner’s Manual
14. TAPE OUTPUT
POWER
ON
POWER
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 802-VLZ3.
20
19
15. AUX SEND
This is a TRS 1⁄4" balanced/unbalanced output, commonly used to feed stage monitors (with aux set to pre)
or an external effects processor (with aux set to post).
The aux send [28] knobs tap a portion of each channel's signal to provide an output here, allowing you to
set up a nice stage monitor mix, or to set up an external
effect from different channels. See the aux send details
on page 18.
19. POWER CONNECTION
MIC 2
MIC 3
1
This isMIC
where
you plug
in the connector
from the AC
adapter supplied with your mixer.
MAIN OUT BALANCED
2 MIC P
RE
XDR
These 1⁄4" TRS balanced/unbalanced outputs feed the
main mix out into the waiting world. You can feed your
amplifiers or powered speakers this way, or through the
XLR main outs [17].
To use these outputs to drive balanced inputs, connect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:
Tip = + (hot)
Ring = –(cold)
Sleeve = Ground
For most music recording and PA applications, unbalanced lines are fine. To drive unbalanced inputs, connect 1⁄4" TS (Tip–Sleeve) phone plugs like this:
Tip = + (hot)
20. POWER BAL
SWITCH
OR
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
this output is 6 dB hotter than other outputs.
18. XLR MAIN OUTPUT LEVEL SWITCH
Engaging this switch reduces the level of the balanced
XLR main outputs, 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.)
R
MONO
BAL
OR
UNBAL
+4
MIC
L
L
L
Press the top of this rocker switch inwards
to turn
BAL
LINE IN 1
LINE IN 2
LINE IN 3 OR
MAIN
UNBAL
on the mixer. The power LED [39] on the
top surface
R
OUTPUT
LEVEL
of the mixer will glow with happiness, or at
least
it
will
TAPE IN
R
if you have the mixer plugged in to a suitable live ACMONO
INSERT
LINE IN 4
mainsINSERT
supply.
R
TAPE OUT
MONO
L
LOW CUT
100 Hz
18dB/OCT
L
Press the
bottom of this
switch to turn off the mixer,
dBV
dBV
-10G
-10G
IC AIN
IC GAIN
IC AIN
M a safe thing to do.
whenever
U M this would be
U M you feel that
BAL
OR
UNBAL
BAL
OR
UNBA
R
R
As a general
should turn
60
60 your mixer
0
0 on
60 guide, you
0
+15dB - 45dB
+15dB - 45dB
LINE IN 5-6
first, before
the power GAIN
amplifier or powered
speakers,
GAIN
GAIN
and turn it off last. This will reduce the possibilities of
any turn-on, or turn-off thumps in your speakers.
AUX
U
OO
+15
AUX
U
OO
EQ
U
+15
-15
+15
U
EQ
-15
+15
U
+15
U
+15
U
+15
1
+15
+15
U
+15
U
MID
2.5kH
-15
+15
+15
U
LOW
80H
-15
+15
PAN
L R
PAN
L R
5-6
MUTE
+15
U
LOW
80Hz
-15
7-8
MUTE
ALT 3-4
EQ
HI
12kH
-15
PAN
3-4
MUTE
EQ
+15
U
MID
2.5kHz
-15
L R
ALT 3-4
OO
LOW
80Hz
-15
2
MUTE
+15
U
AU
U
HI
12kHz
-15
PAN
L R
ALT 3-4
+15
U
LOW
80Hz
-15
+15
U
MID
2.5kHz
-15
PAN
L R
EQ
MID
2.5kHz
-15
+15
OO
LINE IN 7-8
AUX
U
HI
12kHz
-15
LOW
80Hz
-15
+15
U
HI
12kHz
MID
2.5kHz
-15
AUX
U
OO
U
HI
12kHz
Sleeve = Ground
17. XLR MAIN OUTS
L
Only use the AC adapter that came with your
mixer, or a factory-authorized power supply.
UNBAL
16. 1⁄4" MAIN OUTS
2 MIC P
RE
XDR
2 MIC P
RE
XDR
MUTE
ALT 3-4
ALT 3-4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
SOLO
OO
+12dB
LEVEL
SOLO
OO
+12dB
LEVEL
SOLO
OO
+12dB
LEVEL
SOLO
OO
SOLO
+12dB
OO
LEVEL
Owner’s Manual
+12dB
LEVEL
15
MIC 1
MIC 2
802-VLZ3
2 MIC P
RE
XDR
MIC 3
2 MIC P
RE
XDR
MAIN OUT BALANCED
2 MIC P
RE
XDR
BAL/UNBAL
L
Channel Strip Description
802
R
The five channel strips look alike, and function
L
L
L
identically. The first two are for individual mics or mono
LINE IN 1
LINE IN
2
LINE IN
3
instruments,
and
have
more
gain
available.
MAIN
R
RThe next
OUTPUT
LEVEL
strip controls mic or stereo line-level
sources,
and
the
R
last two
are
for
either
stereo
or
mono
line-level sources.
INSERT
INSERT
LINE IN 4
L
L
(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
R
R
way up:
BAL
OR
UNBAL
MONO
BAL
OR
UNBAL
+4
MIC
BAL
OR
UNBAL
TAPE IN
IN
C
I
U M
60
0
+15dB - 45dB
GAIN
28
27
26
25
24
23
22
21
IC GAIN
M
IN
C
I
U M
60
0
+15dB - 45dB
MONO
MONO
BAL
OR
UNBAL
BAL
OR
UNBAL
LINE IN 5-6
GAIN
AUX
U
TAPE OUT
60
0
GAIN
AUX
U
LOW CUT
100 Hz
18dB/OCT
dBV
-10G
A
dBV
-10G
A
AUX
U
LINE IN 7-8
AUX
U
AUX
U
route them to the main mix or alt 3-4 mix. You don’t
even have to have the channel’s level [21] knob turned
up. Folks use solo in live work to preview channels beAUXfore
SEND they are let into the mix, or to just check out what
L channelL is up to anytime during a session.
L
a particular
You can solo as many channels
at a time as you like.
PHANTOM
MAIN OUT
BAL/UNBAL
BAL/UNBAL
R
OO
+15
OO
EQ
U
+15
OO
EQ
U
HI
12kHz
-15
+15
U
-15
+15
U
+15
U
+15
+15
U
+15
U
-15
+15
+15
U
+15
U
+15
U
MID
2.5kHz
-15
+15
U
+15
LOW
80Hz
-15
PAN
ST RETURN
ALT OUTPUT
CR OUTPUT
PHONES
Soloed channels are sent to the source mix, which
ultimately
feeds your control
room, phones and meter
AUX
STEREO
display. Whenever solo isRETURN
engaged, all source selections
(main mix, alt 3-4 and tape) are defeated, to allow the
POWER signal to do just that — solo!
soloed
U
U
MASTER
SEND
+10
+20
OO
LEFT RIGHT
CONTROL
ROOM
SOURCE
WARNING: Pre-fader solo taps the channel
­signal before the level knob. If you have a
MAIN MIX
channel’s level knob set below “U” (unity
gain),
solo
won’t know that and will send a unity gain
ALT 3-4
signal to the control room, phones and meter display.
ThatTAPEmay result in a startling level boost at these outputs.
0dB=0dBu
20
15
10
3
0
2
+15
PAN
POWER
R
6
LOW
80Hz
-15
PAN
HI
12kHz
BAL/UNBAL
R4
OO
EQ
MID
2.5kHz
-15
+15
+15
U
-15
LOW
80Hz
-15
PAN
+15
U
MID
2.5kHz
LOW
80Hz
-15
OO
EQ
HI
12kHz
-15
MID
2.5kHz
-15
+15
U
HI
12kHz
-15
LOW
80Hz
-15
OO
EQ
HI
12kHz
MID
2.5kHz
-15
+15
U
3
Solo is also the key player in the Level-­Setting Procedure on page 3.
PRE
POST
PAN
4
7
10
L R
L R
L R
L R
L R
1
2
3-4
5-6
7-8
MUTE
MUTE
MUTE
MUTE
20
23. MUTE/ALT 3–4
ASSIGN
TO MAIN MIX
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
SOLO
SOLO
SOLO
SOLO
SOLO
RUDE
SOLO
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
CTL ROOM/SUBMIX
MAIN MIX
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
separate 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.
U
OO
MAX
U
PHONES
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
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.
21. LEVEL
This adjusts the channel’s level, from off, to unity gain
at the center, on up to 12 dB of additional gain.
The knob is the equivalent of a channel fader, so
sometimes we lapse and say the word fader.
22. PRE-FADER SOLO
This lovable switch allows you to hear signals through
your headphones or control room without having to
802-VLZ3
LEVEL
SET
30
MUTE
“U” LIKE UNITY GAIN
16
L
R
OO
+10dB
OO
+12dB
To use this as a mute switch, all you have to do is not
use the alt 3–4 [9] outputs. Then, whenever you press
this switch, you will assign a channel to these unused
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 [9] 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.
Another way to do the same thing is assign the channels to the alt 3–4 mix, then patch out of the alt 3–4
output [9] back into an unused stereo channel line
input [3]. 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 bewilder 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!
24. PAN
Pan adjusts the amount of channel signal sent to the
left versus the right outputs. On mono channels (ch. 1–3
or 3–8, with connections to the left input only) these
controls act as pan pots. On ­stereo channels (3–8) with
stereo connections to left and right ­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 left or alt output left, depending on the
position of the alt 3–4 switch [23]. With the knob hard
right, the signal feeds main out right or alt output right.
CONSTANT LOUDNESS ! ! !
The 802-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 [24] 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
Owner’s Manual
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 [30]
matrix, and the signals will appear at the control room
[10] and phones [11] output­s. If you want the alt 3–4
signals to go back into the main mix, engage the ­assign
to main mix [33] switch, and the ­control room/submix
[32] level control becomes the one knob to control the
­levels of all the channels assigned to alt 3–4.
The 802-VLZ3 has 3-band equalization at carefully
selected points — low shelving at 80 Hz, mid peaking at
2.5 kHz, and high shelving at 12 kHz. “Shelving” means
that the circuitry boosts or cuts all frequencies before or
past the ­specified frequency. For example, rotating the
low EQ knob 15 dB to the right will boost the bass at 80
Hz and lower, 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.
25. 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 [5] switch,
you can boost the low EQ
without injecting a ton of
subsonic debris into the
mix.
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
1kHz
10kHz 20kHz
Low EQ
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
Low EQ with Low Cut
26. MID EQ
+15
Short for “midrange,”
+10
this knob provides 15 dB
+5
of boost or cut, centered
0
at 2.5 kHz, also flat at the
–5
center detent. Midrange EQ –10
is ­often thought of as the
–15
20
100
1k
10k 20k
most dynamic, because the
Mid
EQ
frequencies that define any
particular sound are almost always found in this range.
You can create many interesting and useful EQ changes
by turning this knob down as well as up.
Hz
Hz
Hz
Hz
Hz
27. HI EQ
This control gives you up +15
+10
to 15 dB boost or cut above
+5
12 kHz, and it is also flat
0
at the detent. Use it to add –5
sizzle to cymbals, and an
–10
overall sense of transpar–15
100
ency, or edge to keyboards, 20
­vocals, guitar and bacon
High EQ
­frying. Turn it down a little
to reduce ­sibilance, or to hide tape hiss.
Hz
Hz
1kHz
10kHz 20kHz
Owner’s Manual
17
R
60
0
+15dB - 45dB
60
0
+15dB - 45dB
802-VLZ3
GAIN
28
27
26
25
24
23
22
GAIN
AUX
U
LINE IN 5-6
GAIN
AUX
U
R
60
0
AUX
U
LINE IN 7-8
AUX
U
AUX
U
ALT OUTPUT
OO
+15
OO
EQ
U
+15
OO
EQ
U
HI
12kHz
-15
+15
U
-15
+15
U
+15
U
+15
+15
U
+15
U
-15
+15
+15
U
U
+15
U
+15
+15
U
PAN
+20
OO
15
These
are more than just effects and monitor sends.
MAIN MIX
They can be used to generate separate mixes for recordingALTor3-4“mix-minuses” for broadcast. By using aux in the
pre mode, these mix levels can be obtained indepenTAPE
dently of the channel’s level control.
10
3
0
2
+15
PAN
+10
6
LOW
80Hz
-15
STEREO
RETURN
SEND
20
MID
2.5kHz
-15
U
MASTER
0dB=0dBu
+15
U
LOW
80Hz
-15
PAN
HI
12kHz
PHONES
These knobs allow you to tap a portion of each channel signal out to another source for parallel effects
POWER
processing
or stage
monitoring. Aux send levels are
LEFT RIGHT
CONTROL
ROOM
controlled
by
these
knobs
and by the aux master [37].
SOURCE
OO
EQ
MID
2.5kHz
-15
+15
+15
U
-15
LOW
80Hz
-15
PAN
+15
U
MID
2.5kHz
LOW
80Hz
-15
OO
EQ
HI
12kHz
-15
MID
2.5kHz
-15
+15
U
HI
12kHz
-15
LOW
80Hz
-15
OO
EQ
HI
12kHz
MID
2.5kHz
-15
+15
U
CR OUTPUT
28. AUX
AUX
PRE
POST
PAN
4
7
10
L R
L R
L R
L R
L R
1
2
3-4
5-6
7-8
MUTE
MUTE
MUTE
MUTE
MUTE
ASSIGN
TO MAIN MIX
ALT 3-4
ALT 3-4
ALT 3-4
ALT 3-4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
SOLO
SOLO
SOLO
Aux in post mode is post-low cut, post-EQ and postlevel. That is, the aux send obeys the settings of these
controls. Aux in pre mode follows the EQ and low cut
settings only. Pan and level have no effect on the pre
send.
20
ALT 3-4
SOLO
SOLO
RUDE
SOLO
U
OO
MAX
U
PHONES
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
MODERATION DURING EQ
With EQ, you can also upset things royally. We’ve designed a lot of boost and cut into each equalizer circuit,
because we know everyone will occasionally need that.
But if you max the EQs on every channel, you’ll get mix
mush. Equalize subtly and use the left sides of the knobs
(cut), as well as the right (boost). Very few gold-recordalbum 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 or singer entirely).
802-VLZ3
LEVEL
SET
30
PRE FADER
OO
18
ST RETURN
The aux send level
from off through unity (the
MAINranges
MIX
center 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.
OO
+10dB
CTL ROOM/SUBMIX
OO
+12dB
The channel 3–8 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 knob.
Still with us? Good for you. Here come the tricky
parts, the output or master section where the mixing is
really done.
L
BAL
OR
UNBAL
LINE IN 7-8
36
EQ
ALT OUTPUT
HI
12kHz
HI
12kHz
+15
U
MID
2.5kHz
U
MASTER
PRE
POST
39
LOW
80Hz
LOW
80Hz
-15
POWER
LEFT RIGHT
CONTROL
ROOM
SOURCE
0dB=0dBu
20
15
30
6
3
ALT 3-4
0
2
PAN
4
TAPE
7
10
L R
33
7-8
MUTE
ALT 3-4
31
20
34
RUDE
SOLO
SOLO
U
U
OO
MAX
U
PHONES
32
+12dB
LEVEL
LEVEL
SET
30
ASSIGN
TO MAIN MIX
PRE FADER
OO
35
10
+15
PAN
+20
OO
MAIN MIX
+15
U
STEREO
RETURN
SEND
+10
MID
2.5kHz
-15
that additional stereo mix bus. Tape is the stereo signal
coming in from the tape input [13] jacks.
PHONES
38
AUX
U
OO
EQ
CR OUTPUT
37
+15
U
-15
ST RETURN
AUX
U
OO
EL
R
R
AUX
12dB
R4
Output Section
R
N 5-6
R
PHANTOM
POWER
29
OO
+10dB
CTL ROOM/SUBMIX
OO
+12dB
MAIN MIX
29. MAIN MIX
This knob controls the levels of signals sent to the
main outputs: XLR [17] and 1⁄4" [16] and RCA tape
output [14]. All channels and stereo returns [8] that
are not muted or turned fully down will wind up in the
main mix.
Fully counterclockwise is off, the center is unity gain,
and fully clockwise ­provides 12 dB ­of additional gain.
This additional gain will typically never be needed, but
once again, it’s nice to know it’s there. This is the knob
to turn down at the end of the song when you want "The
Great Fade-Out."
30. 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 802-VLZ3,
the engineer has several choices of what to listen to.
This is one of those tricky parts, so brace yourself.
With 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
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 [22] switch
will replace that selection with the solo signal, also sent
to the control room, phones and meters. This is what
makes the level-setting ­procedure so easy to do.
Owner’s Manual
L
BAL
OR
UNBAL
Warning: engaging both the tape and ­assign to
main mix [33] ­button can create a feedback
path between tape input [13] and tape output
[14]. Make sure your tape deck is not in record, recordpause, or input-monitor mode when you engage these
switches, or make sure the control room / submix [32]
level knob is fully counterclockwise (off).
Now you know how to select the signals to send to the
engineer’s control room or phones.
31. PHONES
This knob controls the ­level going to your stereo
headphones. Make sure this is fully down whenever you
are making connections in your system, or putting on
the headphones. Bring up the level slowly and carefully
to protect your hearing.
This dedicated phones level knob makes it is easy to
turn down the studio monitors and listen just with the
headphones, when overdubbing, or when in a room full
of sleeping and hungry leopards.
32. CONTROL ROOM/SUBMIX
This knob controls the ­level of the stereo control room
outputs [10]. The control range is from off through
unity gain at the center, with 10 dB of extra gain when
turned fully clockwise.
When main mix is your control room source selection,
those signals will now pass through three level controls
on the way to your control room amp and phones : the
main mix [29] knob, this control room / submix knob,
and the phones knob [31]. 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 and phones knob where
you like).
When alt 3-4 or tape is selected, or a channel solo
[22] is engaged, the control room / submix knob and
phones knob will be the only ones controlling these
­levels (channel controls not withstanding).
Owner’s Manual
19
R
AUX
LINE IN 7-8
802-VLZ3
5-6
R
EQ
HI
12kHz
36
HI
12kHz
LOW
80Hz
-15
L
POWER
LEFT RIGHT
CONTROL
ROOM
SOURCE
0dB=0dBu
20
6
0
4
TAPE
7
10
L R
33
7-8
MUTE
ALT 3-4
31
20
34
RUDE
SOLO
PRE FADER
SOLO
U
U
OO
MAX
U
PHONES
32
+12dB
LEVEL
LEVEL
SET
30
ASSIGN
TO MAIN MIX
29
OO
+10dB
CTL ROOM/SUBMIX
OO
+12dB
MAIN MIX
Whatever your selection, you can also use the control
room [10] outputs for other applications. Its sound
quality is just as impeccable as the main outs [16 and
17]. 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 [22] 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
meter. The ­audible solo levels are then controlled by
the control room / submix [32] knob and phones [31]
knob. The solo levels appearing on the meter display are
not controlled by anything — you wouldn’t want that.
You want to see the actual channel level on the meter
regardless of how loud you’re listening.
“Pre-fader” solo means that the channel signal is being tapped before the channel’s level [21] knob . It does,
however, obey gain [7], low cut [5] and EQ [25–27] settings, making it the perfect tool for quick inspections of
suspect channels. The channel’s pan [24] and mute/alt
3-4 [23] settings have no effect on the solo signal.
20
802-VLZ3
Note: for stereo channels 3-8, the solo signal is the
mono sum of the left (odd-numbered) and right (evennumbered) signals for that channel strip.
Warning: pre-fader solo [22] taps the channel signal before the level knob. If you have a
channel’s level knob set below "U" 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.
33. ASSIGN TO MAIN MIX
3
ALT 3-4
2
PAN
OO
35
10
+15
PAN
+20
OO
15
30
LOW
80Hz
STEREO
RETURN
SEND
+10
MAIN MIX
+15
U
PHONES
U
MASTER
MID
2.5kHz
-15
12dB
39
+15
U
MID
2.5kHz
AUX
U
OO
EQ
CR OUTPUT
38
PRE
POST
+15
U
-15
ALT OUTPUT
37
AUX
U
OO
ST RETURN
Let’s say you’re doing a live show. Intermission is nearing and you’ll want to play a soothing CD for the crowd
to prevent them from eating the furniture. Then you
think, “But I have the CD player plugged into the tape
­inputs, and that never gets to the main outs!” Oh, but it
does. Simply engage this switch and your control room
source selection,­ ­after going through the control room /
submix [32] 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 the main mix as
your control room source selection and then engage assign to main mix, the main mix lines to the control room
will be interrupted to prevent feedback. Then again,
why would anyone want to ­assign the main mix to the
main mix?
34. RUDE SOLO
If you happen to forget you’re in solo, you can easily be
tricked into thinking that something is wrong with your
mixer. Hence the flashing rude solo light. This will come
on whenever a channel solo switch [22] is engaged.
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.
35. METERS
The 802-VLZ3’s peak metering system is made up of
two columns of twelve LEDs. Deceptively simple, considering the multitude of signals that can be monitored by
it.
If nothing is selected in the source ­matrix and no
channels are in solo, the meters will just sit there and
do nothing. To put them to work, you must make a selection in the source matrix [30], or engage a solo switch
[22]. Why? You want the meter display to reflect what
the engineer is listening to, and as we’ve covered, the
Thanks to the 802-VLZ3’s wide dynamic range, you can
get a good mix with peaks flashing anywhere between
–20 and +10 dB on the meters. Most amplifiers clip at
about +10 dB, and some recorders aren’t so forgiving either. For best real-world results, try to keep your peaks
between “0” and “+6”.
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
Sends are outputs, and returns are inputs. The channel aux [28] knobs taps the signal off each channel. The
sum of the aux signals is sent to the aux master [37]
knob before going to the aux send [15] output.
This output 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 [8]
jacks, through the stereo return [38] level control, 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 [8] to the main mix. 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:
36. PRE or POST (AUX)
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 802-VLZ3, aux send can play
either role, depending on the position of this switch.
With this switch out (disengaged), aux send will tap a
channel pre-fader 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, as its level is not affected by
changes to the channel's level controls. EQ settings will
affect all aux sends. It's a bit like setting up two PAs,
one at a nice level to keep your band happy, and one at
a nice level to play to your audience. The levels of each
are independent of each other.
With the switch in, the aux send 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," keeping them at the same ratio. For example, you
do not want a returned echo to stay at one level, when
you turn a channel down; you want it to go down as well.
Post mute/alt 3-4 means that when a channel is muted,
its aux send to an external processor is also muted.
37. AUX MASTER SEND
This knob provides overall level control of aux send,
just before it’s delivered to the aux send [15] output.
This knob goes from off (turned fully down), to unity
gain at the center, with 10 dB of extra gain (turned fully
up). You may never need the additional gain, but here it
is anyway.
Owner’s Manual
engineer is listening either to the control room [10]
outputs or the phones [11] outputs. The only difference
is that while the listening levels are controlled by the
control room / submix [32] 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.
This is the knob to turn up when the lead singer
glares at you, points at his stage monitor, and sticks his
thumb up in the air. (If he stuck his thumb down, you’d
turn the knob down, but that never happens.)
38. STEREO RETURN
This control sets the overall level of ­effects received
from the stereo return [8] inputs. This could be the affected (wet) processed signal returning from an effects
processor, or the stereo signals from another synth or
source. This control is designed to handle a wide range
of signal levels, from off, to unity gain at the center, with
20 dB gain fully ­clockwise, to compensate for low-level
effects or sources.
Normally, set this knob at the center, and set the effects device or source's output control to whatever they
call unity gain (check their manual). If that turns out
to be too loud or too quiet, adjust the effects device or
source's outputs, not the mixer. That way, the mixer’s
knobs are easy to relocate at the center.
Signals passing through this control proceed directly
to main mix. 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 instead of the stereo
return, and mute/alt those channels.
39. POWER LED
This LED will light when the mixer is connected to a
live power supply, and the power switch is turned on.
This lets you know that the mixer's internal circuits are
turned on, and all ready for action.
Turning off the power switch will turn off the mixer
and this LED will go out.
Congratulations! You’ve just read about all the features of your 802-VLZ3. You’re probably ready for a cold
one. Go ahead. The rest of the manual can wait.
Owner’s Manual
21
802-VLZ3
Appendix A: Service Information
If you think your 802-VLZ3 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) where you will find lots
of useful information such as FAQs, documentation and
user forums. You may find the answer to the problem
without having to send your mixer away.
Troubleshooting
Bad Channel
• Is the gain set correctly?
• Is the level knob turned up?
• Is the instrument switch set correctly? (Channels 1–2 only).
Repair
For warranty repair or replacement, refer to the warranty information on page 27.
Non-warranty repair for Mackie products is available
at a factory-authorized service center. To locate your
nearest service center, visit www.mackie.com, click
“Support” and select “Locate a Service Center.” Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211, Monday-Friday, 7 am to 5 pm Pacific Time, to explain the
problem. Tech Support will tell you where the nearest
factory-authorized service center is located in your area.
• Try the same source signal in another channel,
set up exactly like the suspect channel.
• Check that the pan knob is set correctly.
• Check the EQ and the low-cut switch.
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 a left speaker is presumed dead, switch the
left and right cords, at the mixer's main outs. If
the left speaker is still not working, it’s not the
mixer.
Noise
• Turn the channel level and aux ­return knobs
down, one by one. If the sound disappears, it’s
either that channel or whatever is plugged
into it, so unplug whatever that is. If the noise
disappears, it’s from your whatever.
Power
• Check that the supplied power supply is connected to a live AC outlet. The power LED on
the mixer should come on when the power
switch is on.
22
802-VLZ3
Need help with your new mixer?
• Visit www.mackie.com and click Support
to find: FAQs, manuals, addendums, and
user forums.
• Email us at: [email protected]
• Telephone 1-800-898-3211 to speak with
one of our splendid technical support
representatives, (Monday through Friday,
from 7 a.m. to 5 p.m. PST).
“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.
2
SHIELD
HOT
COLD
SHIELD
COLD 3
HOT
1
3
You can cook up your own adapter for a stereo
microphone. “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.
• 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"
1
3
directly accept 1-plug-type stereo micro­phones.
They must be separated into a left cord and a
right cord, which are plugged into the two mic
preamps.
TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connections available on a “mono” 1⁄4" phone jack or plug. See Figure C.
1
2
SLEEVE
SLEEVE
TIP
TIP
HOT
Figure A: XLR Connectors
SLEEVE
SLEEVE
1⁄4"
SLEEVE
TIP
TRS Phone Plugs and Jacks
TIP
TIP
SLEEVE
“TRS” stands for Tip-Ring-Sleeve, the three
1
­connections available on a “stereo” ⁄4" or ­“balanced”
phone jack or plug. See Figure B.
Figure C: TS Plug
TS jacks and plugs areRING
used
in many
SLEEVE
SLEEVEdifferent
RING TIP
a­ pplications, always unbalanced. The tip is connected to
TIP
the audio signal and the sleeve
to ground (earth). Some
RING
examples:
TIP
• Unbalanced microphones
RING SLEEVE
SLEEVE RING TIP
RING
TIP
SLEEVE
Figure B:
SLEEVE
• Electric guitars and electronic instruments
• Unbalanced line-level connections
TIP
1⁄4"
TIP
SHIELD
COLD
2
Owner’s Manual
Appendix B: Connections
TRS Plugs
TRS jacks and plugs are used in several ­­different applications:
• Balanced mono circuits. When wired as a balanced connector, a 1⁄4" TRS jack or plug is connected tip to signal high (hot), ring to signal
low (cold), and sleeve to ground (earth).
• Stereo Headphones, and rarely, stereo microphones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug
is connected tip to left, ring to right and sleeve
to ground (earth). Mackie mixers do not
RCA Plugs and Jacks
RCA-type plugs (also known as phono plugs) and
jacks are often used in home ­stereo and video equipment and in many other applications (Figure D). They
are ­unbalanced and electrically identical to a 1⁄4" TS
phone plug or jack (figure C). Connect the signal to the
center post and the ground (earth) or shield to the surrounding “basket.”
SLEEVE TIP SLEEVE TIP
Figure D: RCA Plug
Owner’s Manual
23
802-VLZ3
TRS Send/Receive Insert Jacks
Mackie’s single-jack inserts are the three-­conductor,
TRS-type 1⁄4" phone. They are unbalanced, but have
both the mixer output (send) and the mixer input
­(return) signals in one connector. See Figure E.
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.
tip
ring
SEND to processor
(TRS plug)
sleeve
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
Figure E
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.
NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure F
24
802-VLZ3
Mackie Stereo Inputs and Returns: Mono,
Stereo, Whatever
Stereo line inputs and stereo returns are a fine
example of the Mackie philosophy (which we just made
up) of Maximum Flexibility with Minimum Headache.
The inputs and returns will automatically be mono or
­stereo, depending upon how you use the jacks. Here’s
how it works:
A mono signal should be patched into the input or return jack labeled left (mono). The signal will be routed
to both the left and right sides of the return circuit, and
will show up in the center of the stereo pair of buses
it’s ­assigned to, or it can be panned with the ­pan [24]
control.
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.
Microphone Stand8.9 in/227 mm
The bottom panel
of the 802-VLZ3 has
three non-threaded
holes that allow it
to be fitted with an
optional microphone
stand adapter.
This allows you to
support the mixer
on a standard mic
stand, and adjust its
height and level to
whatever suits your
strangely-complex
set of preferences.
holes for
mic stand
adapter
bottom panel
1. Order the Atlas AD-11B mic stand adapter
available from many a fine music store. (It is
made and distributed by Atlas Sound.)
2. Use three self-tapping machine screws 6-32 x
1/4" long to secure the adapter to the bottom of
the 802-VLZ3.
Do not use screws that are longer then 1/4" as
these could damage the circuit boards. Do not
use any shorter screws, or the adapter will not
be securely fixed to the mixer.
1.8 in/
47 mm
Specifications
Common Mode Rejection Ratio (CMRR)
Main Mix Noise
1 kHz: (20 Hz–20 kHz bandwidth, channels 1–3 gain @ unity gain,
channel EQ flat, all channels assigned to main mix,
channel 1 panned left, 2 panned right, 3–8 centered.)
Maximum Levels
(Mic in to insert send out, max gain.)
Main mix knob down, channel level knobs down:
XLR:
–95 dBu
TRS:
–101 dBu
Main mix knob unity, channel level knobs down:
XLR:
–90 dBu
TRS:
–96 dBu
Main mix knob @ unity, channel level knobs @ unity:
XLR:
–84 dBu
TRS:
–90 dBu
better than –60 dB
Mic in: +21 dBu
Tape in: +22 dBu
All other inputs: +22 dBu
Main mix XLR out: +28 dBu
All other outputs: +22 dBu
Impedances
Mic in: 3.4 kilohms
Channel insert return: 5 kilohms
All other inputs: 20 kilohms or greater
(1 kHz @ 35 dB gain, 20 Hz–20 kHz bandwidth)
Tape out: 1 kilohms
Mic pre @ insert: Phones out:
60 ohms
All other outputs: 120 ohms
Total Harmonic Distortion (THD)
0.001%
Attenuation (Crosstalk)
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth,
line in, 1⁄4" main out, gain @ unity.)
EQ
High Shelving ±15 dB @ 12 kHz
Main mix knob down: –75 dBu
Mid Peaking
±15 dB @ 2.5 kHz
Channel Alt / Mute switch engaged: –100 dBu
Low Shelving ±15 dB @ 80 Hz
Channel level knob down: –100 dBu
Frequency Response
Power Consumption
(30 Hz to 30 kHz, mic input to any output, @ 60 dB gain.)
+0 dB/–1 dB
(10 Hz to 100 kHz, mic input to any output, @ unity gain.)
+0 dB/–3 dB
Equivalent Input Noise (EIN)
(20 Hz–20 kHz, mic input to insert send out, max gain.)
150 ohm termination:
–129.5 dBu
1.8 in/
47 mm
Owner’s Manual
Appendix C: Technical Information
13 watts
Dimensions (H x W x D)
10.7" x 8.9" x 1.8" (273 mm x 227 mm x 47 mm)
Weight
With power supply
5.5 lb (2.5 kg)
Without power supply
4.5 lb (2.0 kg)
LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
©2007 LOUD Technologies Inc. All Rights Reserved.
10.7 in/
273 mm
8.9 in/227 mm
WEIGHT
4.5 lb/
2.0 kg
Owner’s Manual
holes for
25
802-VLZ3
HPF
bypass
Low Cut
Gain
-
+
Mic: 0 ~ +60dB
Line: -15 ~ +45dB
2.5K
80
12K
HI
12K
HI
MID
2.5K
MID
2.5K
LO
80
LO
80
12K
HI
12K
HI
3-Band EQ
MID
2.5K
80
LO
MID
LO
Rev 300 10/01/07
80
LO
2.5K
MID
12K
HI
48V
3-Band EQ
Global phantom
power
phantom
3-Band EQ
HPF
bypass
Low Cut
Insert (Ch1-2 only)
NOTE: Switches are shown in the default (out) position.
R
Stereo Return
L
R
L
R
L
Hybrid
channel 3/4
Hi-Z
phantom
Stereo channels
5/6 and 7/8
Mic: 0 ~ +60dB
-
+
phantom
Line
Mic
Mono Channels
Ch 1/2
solo
Level
solo
Level
Pan
Pan
Aux sends
Main L/R
Alt 3/4
Aux sends
Main L/R
Alt 3/4
Aux sends
Level
solo
Level
Pan
Main L/R
Alt 3/4
L
R Main
L/3
R/4 Alt
aux 1 (pre)
aux 1 (post)
solo(pfl)
logic
L
Main R
Alt L/3
R/4
aux 1 (pre)
aux 1 (post)
solo (pfl)
logic
26
pre
post
Aux 1
solo sum
R
CD/Tape in
L
Alt R/4 sum
Alt L/3
sum
R sum
L sum
Aux 1 sum
off
C/R to Main
Main
RUDE
SOLO
LED
solo logic
C/R
R
C/R L
C/R Source
CD/Tape
Alt3/4
Main level
Aux 1 level
Phones
level
Control
Room
level
Meter
+4dBu
Mic level
Main
out
Left
Aux 1 out
Phones
Right
Control Room out
Left
Right/4
Left/3
Alt out
Right
Tape
Line
Bal
Bal
Line
Tape
802-VLZ3
Block Diagram
Please keep your sales receipt in a safe place.
A. LOUD Technologies Inc. warrants all materials,
workmanship and proper operation of this product for a period
of one year from the original date of purchase. You may
purchase an additional 24-month Extended Warranty (for a
total of 36 months of coverage). Visit our website and follow
the “Product Registration” links for details (www.mackie.com).
If any defects are found in the materials or workmanship or
if the product fails to function properly during the applicable
warranty period, LOUD Technologies, at its option, will
repair or replace the product. This warranty applies only to
equipment sold and delivered within the U.S. and Canada
by LOUD Technologies Inc. or its authorized dealers.
B. For faster processing (not to mention a free gift), register
online or mail in the product registration card.
C. Unauthorized service, repairs, or modification of Mackie
products will void this warranty. To obtain repairs or
replacement under warranty, you must have a copy of your
sales receipt from the authorized Mackie dealer where you
purchased the product. It is necessary to establish purchase
date and determine whether your Mackie product is within
the warranty period.
D. To obtain warranty repair or replacement:
1. Call Mackie Technical Support at 800/898-3211, 7
AM to 5 PM Monday through Friday (Pacific Time) to get
authorization for repair or replacement. Alternately, go
to the Mackie website, click “Support” (www.mackie.
com/support), and follow the instructions for reporting
a warranty issue and submitting a request for an advance
replacement.
2. Advance Replacement: Mackie will ship a replacement
unit to you along with an invoice for the suggested retail
price of the replacement unit. You must return the defective
unit immediately to cancel the invoice. If you do not return
the defective unit within 30 days, you must pay the full
amount stated in the invoice to satisfy your debt.
3. Repair: When you call Mackie Technical Support, explain
the problem and obtain a Service Request Number. Have
your Mackie product’s serial number ready. You must have
a Service Request Number before you can obtain factoryauthorized service.
• Pack the product in its original shipping carton. Also
include a note explaining exactly how to duplicate the
problem, a copy of the sales receipt with price and date
showing, your daytime phone number and return street
address (no P.O. boxes or route numbers, please!), and
the Service Request Number. If we cannot duplicate the
problem or establish the starting date of your Limited
Warranty, we may, at our option, charge for service time
and parts.
• Ship the product in its original shipping carton, freight
prepaid to the authorized service center. Write the Service
Request Number in BIG PRINT on top of the box. The
address of your closest authorized service center will be
given to you by Technical Support, or it may be obtained
from our website. Once it’s repaired, the authorized service
center will ship it back by ground shipping, pre-paid (if it
qualified as a warranty repair).
Note: Under the terms of the warranty, you must ship or dropoff the unit to an authorized service center. The return ground
shipment is covered for those units deemed by us to be under
warranty.
Note: You must have a sales receipt from an authorized
Mackie dealer for your unit to be considered for warranty
repair.
IMPORTANT: Make sure that the Service Request
Number is plainly written on the shipping carton. No
receipt, no warranty service.
E. LOUD Technologies reserves the right to inspect
any products that may be the subject of any warranty
claims before repair or replacement is carried out. LOUD
Technologies may, at our option, require proof of the original
date of purchase in the form of a dated copy of the original
dealer’s invoice or sales receipt. Final determination of
warranty coverage lies solely with LOUD Technologies.
F. Any products returned to one of the LOUD Technologies
factory-authorized service centers, and deemed eligible
for repair or replacement under the terms of this warranty
will be repaired or replaced. LOUD Technologies and its
authorized service centers may use refurbished parts for
repair or replacement of any product. Products returned
to LOUD Technologies that do not meet the terms of this
Warranty will not be repaired unless payment is received
for labor, materials, return freight, and insurance. Products
repaired under warranty will be returned freight prepaid by
LOUD Technologies to any location within the boundaries of
the USA or Canada.
G. LOUD Technologies warrants all repairs performed
for 90 days or for the remainder of the warranty period.
This warranty does not extend to damage resulting from
improper installation, misuse, neglect or abuse, or to
exterior appearance. This warranty is recognized only if
the inspection seals and serial number on the unit have not
been defaced or removed.
H. LOUD Technologies assumes no responsibility for the
timeliness of repairs performed by an authorized service
center.
I. This warranty is extended to the original purchaser.
This warranty may be transferred to anyone who may
subsequently purchase this product within the applicable
warranty period for a nominal fee (extended warranties
are not transferable). A copy of the original sales receipt is
required to obtain warranty repairs or replacement.
J. This is your sole warranty. LOUD Technologies does
not authorize any third party, including any dealer or
sales representative, to assume any liability on behalf of
LOUD Technologies or to make any warranty for LOUD
Technologies Inc.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL
BE STRICTLY LIMITED IN DURATION TO ONE YEAR
FROM THE DATE OF ORIGINAL PURCHASE FROM AN
AUTHORIZED MACKIE DEALER. UPON EXPIRATION
OF THE APPLICABLE WARRANTY PERIOD, LOUD
TECHNOLOGIES INC. SHALL HAVE NO FURTHER
WARRANTY OBLIGATION OF ANY KIND. LOUD
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY
INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES
THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE
PRODUCT OR ANY WARRANTY CLAIM. Some states do
not allow exclusion or limitation of incidental, special,
or consequential damages or a limitation on how long
warranties last, so some of the above limitations and
exclusions may not apply to you. This warranty provides
specific legal rights and you may have other rights which
vary from state to state.
Owner’s Manual
Owner’s Manual
802-VLZ3 Limited Warranty
27
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]
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