Mackie 802-VLZ3 Owner`s manual

Mackie 802-VLZ3 Owner`s manual
1202-VLZ3
12-Channel Mic/Line Mixer
OWNER’S MANUAL
POWER
ON
PHANTOM
ON
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
CAUTION
SERIAL NUMBER
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
MANUFACTURING DATE
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
ALT
OUTPUT
CONTROL
ROOM
L MAIN
BALANCED
R
BAL/UNBAL
BAL/UNBAL
R/4
L
CHANNEL INSERT
( PRE-FADER / PRE EQ TIP SEND / RING RETURN )
4
L/3
2
3
1
MAIN
OUTPUT
LEVEL
MIC 1
MIC 2
MIC PR
E
XDR
MIC 4
MIC 3
MIC PR
E
XDR
MIC PR
E
XDR
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
I
U M
60
0
+15dB -45dB
GAIN
OO
+15
U
C GAIN
I
U M
60
0
+15dB -45dB
GAIN
+15
OO
EQ
U
+15
U
+15
+15
U
-15
+15
U
+15
U
+15
+15
U
+15
OO
PAN
+15
+15
U
+15
U
-15
+15
PAN
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
R
AUX
U
+15
U
+15
+15
U
OO
EQ
PAN
+15
OO
EQ
+15
U
+15
U
+15
U
PAN
OO
EQ
+15
U
+15
U
PAN
EQ
HI
12kHz
+15
U
MID
2.5kHz
-15
+15
+15
U
-15
+15
U
+15
PAN
LEFT RIGHT
0dB=0dBu
20
+15
U
7
4
LOW
80Hz
-15
2
ALT 3–4
0
+15
PAN
2
PAN
4
TAPE
7
L R
L R
1
L R
2
MUTE
L R
3
MUTE
L R
4
MUTE
L R
5/6
MUTE
7/8
MUTE
MUTE
10
L R
L R
9/10
11/12
MUTE
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
U
U
U
SOLO
OO
+12dB
LEVEL
SOLO
OO
+12dB
LEVEL
SOLO
OO
+12dB
LEVEL
SOLO
OO
+12dB
LEVEL
SOLO
OO
+12dB
LEVEL
ALT 3–4
MUTE
ALT 3–4
PRE FADER
SOLO
OO
+12dB
LEVEL
ALT 3–4
SOLO
OO
+12dB
LEVEL
20
30
ASSIGN
TO MAIN MIX
SOLO
OO
CLIP
10
MAIN MIX
LOW
80Hz
-15
POWER
CONTROL
ROOM
SOURCE
MID
2.5kHz
-15
LOW
80Hz
-15
+15
U
HI
12kHz
MID
2.5kHz
-15
+15
+15
AUX
U
OO
U
-15
LOW
80Hz
-15
+15
U
HI
12kHz
-15
R
LINE IN 11–12
AUX
U
OO
U
MID
2.5kHz
-15
+15
+15
U
HI
12kHz
LOW
80Hz
-15
AUX
U
OO
U
-15
MONO
MONO
L
LINE IN 9–10
MID
2.5kHz
-15
MAIN OUT
MONO
L
R
OO
LOW
80Hz
R
LINE IN 7–8
EQ
+15
U
R
MONO
HI
12kHz
-15
R
2
R
OO
U
MID
2.5kHz
-15
+15
+15
U
L
LINE IN 5–6
AUX
U
EQ
LOW
80Hz
-15
GAIN
HI
12kHz
-15
+15
U
C GAIN
I
U M
60
0
+15dB -45dB
L
L
AUX SEND
LOW CUT
75 Hz
18dB/OCT
-10dBV
OO
U
MID
2.5kHz
-15
BAL
OR
UNBAL
AUX
U
OO
LOW
80Hz
-15
GAIN
HI
12kHz
MID
2.5kHz
-15
60
0
+15dB -45dB
EQ
U
HI
12kHz
-15
C GAIN
I
U M
OO
R
2
BAL /UNBAL
TAPE
TAPE
INPUT OUTPUT
1
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
-10dBV
AUX
U
OO
BAL
OR
UNBAL
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
-10dBV
AUX
U
OO
BAL
OR
UNBAL
LINE IN 2
ALL BAL/UNBAL
1
L
LINE IN 1
R
L /MONO
MIC PR
E
XDR
+12dB
LEVEL
RUDE
SOLO
LIGHT
U
OO
MAX
CTL ROOM /SUBMIX
U
OO
+12dB
MAIN MIX
LEVEL
SET
1202-VLZ3
Important Safety Instructions
1. Read these instructions. 2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10.Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
11.Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
12.Only use attachments/accessories specified by the manufacturer.
PORTABLE CART
13.Use only with a cart, stand, tripod, bracket, or
WARNING
table specified by the manufacturer, or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
14.Unplug this apparatus during lightning storms or
when unused for long periods of time.
15.Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
16.This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
17.This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).
18.This apparatus has been equipped with a rocker-style AC mains power
switch. This switch is located on the rear panel and should remain
readily accessible to the user.
19.The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
CAUTION
AVIS
RISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the
user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil.
20.NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment off and
on, the user is encouraged to try to correct the interference by one or
more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the
receiver.
• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for
help.
CAUTION: Changes or modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user's authority to
operate the equipment under FCC rules.
21.This apparatus does not exceed the Class A/Class B (whichever is
applicable) limits for radio noise emissions from digital apparatus as
set out in the radio interference regulations of the Canadian Department
of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils
numériques de class A/de class B (selon le cas) prescrites dans le
réglement sur le brouillage radioélectrique édicté par les ministere des
communications du Canada.
22.Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn
when operating the equipment in order to prevent permanent hearing
loss if exposure is in excess of the limits set forth here:
Duration,
per day in
hours
8
6
4
3
2
1.5
1
Sound Level
dBA, Slow
Response
90
92
95
97
100
102
105
0.5
110
0.25 or less 115
Typical Example
Duo in small club
Subway Train
Very loud classical music
Dave screaming at Steve about
deadlines
Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
1202-VLZ3
We realize that you must be wanting to
try out your new 1202-VLZ3. All we ask is
that you read this page NOW, and the rest
can wait until you’re good and ready. But
do read it — you’ll be glad you did.
WARNING: Before you plug the AC power
cord into the mixer, make sure the VOLTAGE
SELECTOR switch is set to the same voltage
as your local AC mains supply (see page 12).
Level-Setting Procedure
Message to seasoned pros: do not set levels using the
old “Turn the GAIN up until the clip light comes on,
then back off a hair” trick. When a Mackie mixer clip
light comes on, you really are about to clip. We worked
and slaved to come up with a better system, one that
provides low noise and high headroom.
Adjusting input levels (Chs. 1–4 only)
On the first four channels, it’s not even necessary to
hear what you’re ­doing to set ­optimal levels. But if you’d
like to: Plug headphones into the PHONES jack, then
set the CONTROL ROOM/SUBMIX knob about one-quarter of the way up.
The following steps must be performed one channel at
a time:
Other Nuggets of Wisdom
For optimum sonic performance, the channel LEVEL
knobs and the MAIN MIX knob should be set near the
“U” (unity gain) markings.
Always turn the MAIN MIX and CONTROL ROOM/
SUBMIX level controls down before making connections
to and from your 1202-VLZ3.
If you shut down your equipment, turn off your amplifier or powered speakers first. When powering up, turn
them on last.
Save the shipping box! You may need it someday.
Instant Mixing
Here’s how to get going right away, assuming you have
a microphone and a keyboard:
1. Plug your microphone into channel 1’s MIC
input.
2. Turn on the 1202-VLZ3.
3. Perform the Level-Setting Procedure.
4. Connect cords from the MAIN OUTS (XLR, 1⁄4"
or RCA, your choice) to your amplifier.
5. Hook up speakers to the amp and turn it on.
6. Turn up the 1202-VLZ3’s channel 1 LEVEL knob
to the center detent and the MAIN MIX knob
one quarter of the way up.
1. Turn the GAIN, LEVEL and AUX send knobs
fully down (counterclockwise).
7. Sing like a canary!
2. Set the EQ knobs at the center detent.
9. Turn that channel’s LEVEL knob to the center
detent.
3. Connect the signal source to the input.
4. Engage (push in) the SOLO switch.
5. Play something into the selected input. This
could be an instrument, a singing or speaking
voice, or a line input such as a CD player or
tape recorder output. Be sure that the volume
of the input is the same as it would be during
normal use. If it isn’t, you might have to readjust these levels during the middle of the set.
6. Adjust the channel’s GAIN control so that the
display on the right LED meter stays around “0”
and never goes higher than “+7.”
Owner’s Manual
Read This Page!
8. Plug your keyboard into stereo channel 5-6.
10. Play like a madman and sing like a canary!
It’s your first mix!
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
Purchased at:
7. If you’d like to apply some EQ, do so now and
return to step 6.
8. Disengage that channel’s SOLO switch.
9. Repeat for each of channels 1 through 4.
Date of purchase:
Part No. SW0540 Rev. C 01/09
©2006-2009 LOUD Technologies Inc. All Rights Reserved.
Owner’s Manual
1202-VLZ3
Introduction
Thank you for choosing a Mackie professional compact mixer. The 1202-VLZ3 is equipped with our precision-engineered XDRTM Extended Dynamic Range
premium studio-grade mic preamp.
This icon marks infor­mation that is critically
­important or unique to the 1202-VLZ3. For your
own good, read them and remember them. They
will be on the final test.
Now that you have your 1202-VLZ3, find out how to get
the most from it. That’s where this manual comes in.
This icon will lead you to ­­­in-depth explanations of ­features and practical tips. While not
mandatory, they usually have some valuable
nuggets of information.
How To Use This Manual
Since many of you folks will want to hook up your
1202-VLZ3 immediately, the first pages you will encounter after the table of contents are the ever-popular
hookup diagrams. These show typical mixer setups for
Record/Mixdown, and Stereo PA.
After this ­section is a ­detailed tour of the entire mixer.
Every feature of the 1202-VLZ3 is ­described “geographically;” in other words, in ­order of where it is physically
placed on the mixer’s top or rear panel. These descriptions are divided into the first three sections, just as
your mixer is ­organized into three distinct zones:
Appendix A is a section on troubleshooting and repair
information.
Appendix B is a section on connectors: XLR connectors, TRS balanced connectors, TS unbalanced connectors, and Insert connectors.
Appendix C shows the technical specifications, and
a block diagram showing the internal signal path and
general goings-on within the mixer.
Patchbay: The patchbay along the top and back,
where you connect things.
Channel Strip: The eight channel strips where you
adjust each channel.
Output Section: The ­output section on the right.
Throughout these sections you’ll find illustrations,
with each feature numbered. If you’re curious about a
feature, simply locate it on the ­appropriate illustration,
notice the number ­attached to it, and find that number
in the nearby paragraphs.
Need help with your new mixer?
• Visit www.mackie.com and click Support to find:
FAQs (Frequently Asked Questions), manuals, and addendums.
• Email us at: [email protected]
• Telephone 1-800-898-3211 to speak with one of our splendid
technical support representatives, (Monday through Friday,
during normal business hours, PST).
1202-VLZ3
IMPORTANT SAFETY INSTRUCTIONS......................... 2
READ THIS PAGE!..................................................... 3
INTRODUCTION....................................................... 4
HOOKUP DIAGRAMS............................................... 6
PATCHBAY DESCRIPTION.......................................... 8
1. MIC INPUTS (CHANNELS 1–4).................... 8
2. LINE INPUTS (CHANNELS 1–4)................... 8
3. LOW CUT (CHANNELS 1–4)........................ 9
4. GAIN (CHANNELS 1–4) . ........................... 9
5. STEREO LINE INPUTS................................. 9
6. IMAGINARY CONTROL ............................. 9
EFFECTS: SERIAL OR PARALLEL?................. 9
7. STEREO RETURNS.................................... 10
8. AUX SEND 1&2....................................... 10
9. TAPE INPUT............................................ 10
10. TAPE OUTPUT......................................... 10
11. 1⁄4" MAIN OUTS...................................... 10
12. PHONES................................................. 11
13. XLR MAIN OUTS .................................... 11
14. XLR MAIN OUTPUT LEVEL SWITCH........... 11
15. CONTROL ROOM..................................... 11
16. ALT 3–4 OUTPUT.................................... 11
17. CHANNEL INSERT (CHANNELS 1–4 )......... 11
18. POWER CONNECTION.............................. 12
19. FUSE....................................................... 12
20. VOLTAGE SELECTOR................................. 12
21. POWER SWITCH...................................... 12
22. PHANTOM SWITCH................................. 12
CHANNEL STRIP DESCRIPTION................................ 13
“U” LIKE UNITY GAIN.............................. 13
23. LEVEL..................................................... 13
24. PRE-FADER SOLO.................................... 13
25. MUTE/ALT 3–4....................................... 13
26. PAN....................................................... 14
27.
28.
29.
30.
31.
OUTPUT SECTION................................................... 16
32. MAIN MIX.............................................. 16
33. CONTROL ROOM SOURCE MATRIX........... 16
34. CONTROL ROOM/SUBMIX...................... 16
A WORD ABOUT PRE-FADER SOLO (PFL) 17
35. RUDE SOLO LIGHT................................... 17
36. ASSIGN TO MAIN MIX............................. 17
37. METERS – MANY DISPLAYS IN ONE!........ 17
38. PRE OR POST (AUX 1) ........................... 18
39. AUX 1 MASTER....................................... 18
40. STEREO RETURNS.................................... 18
41. RETURN TO AUX 1.................................. 19
JACK NORMALLING................................. 19
APPENDIX A: SERVICE INFORMATION..................... 20
APPENDIX B: CONNECTIONS.................................. 21
APPENDIX C: TECHNICAL INFORMATION................. 24
SPECIFICATIONS.............................................. 24
Owner’s Manual
Contents
BLOCK DIAGRAM............................................. 25
TRACK SHEET.................................................. 26
1202-VLZ3 LIMITED WARRANTY............................ 27
CONSTANT LOUDNESS ! ! !....................... 14
3-BAND EQ............................................. 14
LOW EQ.................................................. 14
MID EQ................................................... 14
HI EQ...................................................... 15
MODERATION DURING EQ....................... 15
AUX 2 SEND........................................... 15
AUX 1 SEND........................................... 15
Owner’s Manual
1202-VLZ3
Hookup Diagrams
2
3
3
4
4
Stereo Guitar Effects
Drum
Machine
Keyboard or other
line level input
L
MONO
6 R
7
L
MONO
8 R
9
CHANNEL INPUTS
5
L
MONO
10 R
L
11 MONO
12 R
In
(record)
L
L
IN-TAPE-OUT PHONES CONTROL RM
OUT
OUTPUTS
Tape Player
Out
(play)
2
4
1
2
L
R
Digital Delay
L
R
1
L
R
R
R
R
In
Out Stereo Compressor
In
Out
3
AUX
SEND
2
In Mono Compressor
Out
1
ALT 3-4
OUT
1
MAIN
OUT
1
Multi Effect
Processor
2
L
MAIN
OUT
Direct
Boxes
STEREO RETURNS CHANNEL INSERTS
Vocal Mics
Headphones
for Studio
Powered
Studio Monitors
Headphone Distribution Amp
Recording System
1202-VLZ3
Powered
Studio Monitors
for Studio
Way-cooler
Guitar dad bought
your kid brother
for his
birthday
2
3
3
4
4
Stereo Guitar Effects
L
MONO
6 R
Drum
Machine
Keyboard or other
line level input
7
L
MONO
8 R
9
CHANNEL INPUTS
5
L
MONO
10 R
L
11 MONO
12 R
In
(record)
IN-TAPE-OUT PHONES CNTRL ROOM
OUT
OUTPUTS
Tape Player
Out
(play)
L
R
L
R
2
In
Out Stereo Compressor
In
Out
3
4
1
2
AUX
SEND
2
In Mono Compressor
Out
1
ALT 3/4
OUT
1
MAIN
OUT
1
L
R
L
R
Multi Effect
Processor
1
2
L
R
Mono EQ
Mono Power Stage Monitors
Amplifier
L
R
MAIN
OUT
Direct
Boxes
STEREO RETURNS CHANNEL INSERTS
Vocal Mics
Owner’s Manual
Bass Guitar
Guitar dad
bought you
for your
birthday
Stereo
EQ
Headphones
SRM450
Powered
Speaker
This setup can be easily reconfigured to become
a Mono PA setup.
A. Stereo sources should feed the left mono
side of channel input only.
B. Pan each channel hard left.
C. Connect Mono PA system to
Left main output.
SWA1501
Powered
Subwoofer
SRM450
Powered
Speaker
SWA1501
Powered
Subwoofer
Live Stereo PA System
Owner’s Manual
1202-VLZ3
LEVEL
Patchbay Description
MIC 1
MIC 2
MIC PR
E
XDR
MIC 4
MIC 3
MIC PR
E
XDR
MIC PR
E
XDR
L
BAL
OR
UNBAL
LINE IN 1
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
IN
C
I
U M
BAL
OR
UNBAL
60
0
+15dB -45dB
GAIN
IN
C
60
0
+15dB -45dB
GAIN
AUX
U
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
I
U M
BAL
OR
UNBAL
60
0
+15dB -45dB
GAIN
AUX
U
IN
C
I
U M
BAL
OR
UNBAL
60
0
+15dB -45dB
GAIN
AUX
U
OO
+15
U
OO
+15
OO
U
+15
U
OO
+15
OO
U
+15
U
OO
+15
OO
U
HI
12kHz
MONO
L
L
L
+15
U
-15
+15
U
MID
2.5kHz
-15
+15
U
-15
+15
+15
U
MID
2.5kHz
+15
U
LOW
80Hz
-15
-15
5
R
R
R
LINE IN 5–6
LINE IN 7–8
LINE IN 9 –10
AUX
U
OO
+15
OO
+15
U
OO
+15
OO
MID
2.5kHz
-15
+15
U
LOW
80Hz
+15
-15
PAN
PAN
L R
-15
+15
+15
U
-15
-15
+15
OO
+15
OO
U
+15
U
+15
PAN
+15
OO
U
+15
U
+15
U
PAN
HI
12kHz
+15
U
-15
+15
U
+15
PAN
CONTROL
ROOM
SOURCE
LEFT RIGHT
0dB=0dBu
20
-15
7
MAIN MIX
+15
U
4
LOW
80Hz
2
ALT 3–4
Do not plug instrument outputs into the MIC
PAN
PAN
input
jacks
with phantom power on, ­unless
you know for certain it is safe to do so.
-15
0
+15
2
4
TAPE
7
L R
L R
L R
L R
L R
CLIP
10
MID
2.5kHz
LOW
80Hz
-15
POWER
Never plug ­­single-ended (unbalanced) micro­
phones or ­instruments into the MIC [1] input
jacks if the ­phantom power is on.
MID
2.5kHz
-15
+15
+15
U
LOW
80Hz
-15
+15
U
HI
12kHz
-15
+15
U
LOW
80Hz
-15
OO
MID
2.5kHz
-15
AUX
U
+15
U
HI
12kHz
-15
LINE IN 11–12
AUX
U
+15
U
MID
2.5kHz
LOW
80Hz
PAN
1.MIC INPUTS (Channels 1–4)
L R
MID
2.5kHz
LOW
80Hz
-15
+15
U
5
The 1202-VLZ3’s phantom power is globally ­controlled
by the PHANTOM [22] switch on the rear panel. (This
means the phantom power for channels 1-4 is turned on
and
EQ off together.)
EQ
EQ
HI
12kHz
-15
5
AUX
U
U
+15
U
L
R
HI
12kHz
-15
MONO
5
See Appendix B for further details and drawings of
the connectors you can use with the 1202-VLZ3. Also see
the Channel Strip description on page 13 for details of
the signal routing from the XLR and Line inputs.
-15
MAIN OUT
MONO
BAL
OR
UNBAL
+15
U
HI
12kHz
R
BAL
OR
UNBAL
U
HI
12kHz
R
MONO
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level ­instruments
and effects, headphones, and the ­ultimate destination
for your sound: aEQtape ­recorder,
PAEQ
system, etc.
EQ
EQ
EQ
OO
R
BAL
OR
UNBAL
AUX
U
L
2
BAL
OR
UNBAL
IN
C
L
L
AUX SEND
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
I
U M
R
BAL /UNBAL
TAPE
TAPE
INPUT OUTPUT
1
2
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
ALL BAL/UNBAL
1
1
2
3
4
R
L /MONO
MIC PR
E
XDR
10
L R
20
LEVEL
SET
1
2
3
4
5/6
7/8
9/10
11/12
We use phantom-powered,
balanced ­microphone
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
inputs just like
the
big
studio
mega-consoles,
for ­exactly
2.LINE
INPUTSSOLO(Channels 1–4)
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
the same reason: This kind of circuit is­ ­excellent at reThese four line-inputs share circuitry (but not phanjecting hum and noise. You can plug in almost any kind
tom power) with the mic preamps, and can be driven
of mic that has
a standard ­XLR
male micLEVEL
connector.
/SUBMIX
MAIN MIX
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
by balanced
or unbalanced
sources
at ­almost
any level.
Professional ribbon, dynamic, and condenser mics
You can use these inputs for ­virtually any signal you’ll
will all sound excellent through these inputs. The
come across, from instrument levels as low as –40 dB to
1202-VLZ3’s mic inputs will handle any kind of mic level operating levels of –10 dBV to +4 dBu, since there is 40
you can toss at them, without overloading. Be sure to
dB more gain available than on channels 5–12.
perform the Level-Setting Procedure on page 3.
To connect balanced lines to these inputs, use a 1⁄4"
Not every instrument is made to connect directly to a
Tip-Ring-Sleeve (TRS) plug, the type found on­­ ­stereo
mixer. Guitars commonly need a Direct Injection (DI)
headphones.
box to connect to the mixer's MIC inputs. These boxes
To connect unbalanced lines to these ­inputs, use a
convert unbalanced line-level signals from your guitar,
1⁄4" mono (TS) phone plug or standard ­instrument
into balanced mic-level outputs, and provide signal and
cable.
impedance matching. They also let you send your gifted
guitar renditions over long cables or audio snakes, with
The LINE IN inputs 1–4 are a good place to connect
minimum interference and high-frequency signal loss.
older instruments that need more gain. You can correct
Ask your dealer or guitar maker about their recommenweak levels by adjusting the ­corresponding channel’s
dations for a good DI box.
GAIN control.
30
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
U
U
U
OO
+12dB
OO
+12dB
OO
+12dB
OO
+12dB
OO
+12dB
OO
+12dB
OO
+12dB
OO
ASSIGN
TO MAIN MIX
+12dB
U
OO
CTL ROOM
PHANTOM POWER
Most modern professional condenser mics are
equipped for phantom power, which lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics often have batteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
be “unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need ­external power and aren’t
affected by it anyway.
1202-VLZ3
RUDE
SOLO
LIGHT
U
MAX
OO
+12dB
PHANTOM
ON
POWER
ON
Each LOW CUT switch, often referred to as a High
Pass Filter (all depends on how you look at it), cuts bass
frequencies below 75 Hz at a rate of 18 dB per octave.
We recommend that you use low-cut on ­every microphone application except kick drum, bass guitar, or
bassy synth patches. These aside, there isn’t much down
there that you want to hear, and filtering it out makes
the low stuff you do want much more crisp and tasty.
Not only that, but low-cut can help reduce the possibility of feedback in live situations, and it helps to conserve
amplifier power.
Another way to consider low-cut’s function is that it
actually adds flexibility during live performances. With
the ­addition of low-cut, you can safely use low equalization on vocals. Many times, bass shelving EQ can really
benefit voices. Trouble is, adding low EQ also boosts
stage rumble, mic handling clunks and breath pops.
Applying low-cut ­removes all those problems, so you can
add low EQ without losing a woofer.
Here’s what the combination of low EQ and low-cut
looks like in terms of ­frequency curves:
+15
+15
+10
+10
+5
+5
0
–5
MIC 1
MIC 20
MIC PR
E
XDR
–15
–15
20Hz
100Hz
1kHz
10kHz 20kHz
Low Cut
20Hz
100Hz
1kHz
10kHz 20kHz
Low Cut with Low EQ
CONTROL
ROOM
Lstereo
MAINaudio world, an odd-numbered
In theBALANCED
chanBAL/UNBAL
nel usually receives the “left signal.” For ­example,
you
L
R
would feed the 1202-VLZ3’s line inputs 5-6 a stereo
signal by inserting the device’s left output plug into the
channel 5 jack, and its right output plug into the chanMAIN
nel 6 jack.
OUTPUT
If you haven’t already, please read the Level-Setting
Procedure on page 3.
BAL
BAL
BAL
C
I
U M
IN
60
0
+15dB -45dB
18dB/OCT
GAIN
+15dB -45dB
+15dB -45dB
GAIN
GAINis 15
Through
the 1⁄4" input, there
dB of ­attenuation fully down and 45 dB of gain fully
up, with a “U” (unity gain) mark at 10:00. This 15 dB of
­attenuation
can be veryUhandyAUX
when you are ­inserting
U
U
AUX
AUX
a very hot signal, or when you want to add a lot of EQ
gain, or both. Without this ­“virtual pad,” this ­scenario
might
lead to channel
clipping.
OO +15
OO +15
OO +15
U
U
This control is purely a figment of our imagination. It
will come in handy after long hours of mixing, when you
really would like a nice cup of tea, a vacation in Hawaii,
or a trip to the outer reaches of the Solar System. This
is the control for you. Be thankful, you bought a Mackie.
We love you man!
R
L /MONO
ALL BAL/UNBAL
+15
U
OO
The next two sections toss the terms “serial” and
L
“parallel” around like hacky sacks. Here’s what we mean
by them:
R
2
2
“Serial” means that the entire signal is routed through
R
the effects device. Examples: compressor/limiters,
graphic equalizers. Line-level sources can be patched
through BAL
a serial effects device before or after the mixer,
AUX SEND
OR
or preferably
UNBAL through the insert jacks located on the
MONO
MONO
rear panel (CHANNEL INSERT [17] send/return).
L
C
I
U M
EQ
U
HI
12kHz
-15
+15
U
OO
EQ
U
HI
12kHz
-15
+15
U
+15
U
BAL
OR
UNBAL
Signal
R
R
R
of the signal
60Aux means that a portion
0“Parallel”
Aux
Outputin the
Return
Section
+15dB -45dB
mixer
isSend
tapped
off
to
the
device
(AUX
SEND),
proLINE
IN 5–6Insert
LINE IN 9 –10
LINE IN 7– 8
GAIN Insert
Signal
Processor
Send
Return
cessed and returned
to the mixerWet(STEREO
RETURN)
(e.g., Reverb)
Signal
Signal
Processor
toDrybeSignal
mixed with(e.g.,
the
original “dry” signal. This way,
Compressor)
Processed
Mix
Processed
Signal
multiple channels can all make use of the Stage
same
effects
Signal
ChannelUPath
U
U
AUX
AUX
AUX
AUX
­Dry
dUevice.
Examples:
reverb,
digital
delay.
Dry Signal(s)
Signal(s)
Aux
Send
OO
+15
U
EQ
U
HI
12kHz
-15
L
BAL
OR
UNBAL
Processed
N
Aux
Return
OO Processor
+15
Signal
(e.g.,U
Reverb)
Signal(s)
OO Dry+15
+15
MONO
L
Insert
Return
BAL
18dB/OCT
Signal Processor
OR
d
B
0
V
1
(e.g.,
Compressor)
UNBAL
Dry- Signal
GAI
U
+15
TA
TAPE
INPUT OUT
1
Output
Section
OO
+15
OO
EQ
Mix
Stage
HI
12kHz
-15
+15
U
EQ
HI
12kHz
-15
+15
U
U
Owner’s
-15
+15
U
+15
U
Processed
Signal
Dry O
Signal(s)
O +15
+15
U
OO
Wet Signal
U
Channel Path
OO
BAL
R/4
6.IMAGINARY CONTROL
18dB/OCT
dBVoriginates through
dBVthe XLR
the signal
-10G
-10G
IC AIN
IC AIN
M
M
U
U
jack, there will be 0 dB of gain with the
knob fully down, ramping to 60 dB of
gain fully
60
60
0 up.
0
A
OU
LEVEL
OR
OR
OR
GAIN adjusts
line
UNBAL the input sensitivity
UNBAL of the mic and
UNBAL
inputs connected to channels 1 through 4. This allows
LINE
IN from
1
LINE IN
2 to be adjusted
LINE IN 3
signals
the outside
world
to optimal LINE IN 4
Insert
CUT
LOW CUT
LOW CUT
LOW
CUT
internal LOW
operating
levels.
Send
75 Hz
75 Hz
75 Hz
75
Hz
18dB/OCT
dBV
If
-10G
A
EXPOSE TH
NO USER S
When connecting a mono device (just one cord),
always use the LEFT (MONO) input (jacks 5, 7, 9 or 11)
and plug nothing into the RIGHT input (jacks 6, 8, 10 or
12)— this way the signal will appear on both sides. This
trick is called “jack normalling.”
L
4.GAIN (Channels 1–4)
WAR
These fully balanced inputs are designed for ­stereo or
AVIS:
mono, balanced or unbalanced signals,REPLACE
fromWITH
–10
dBV
THE SAME
TYPEto
FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
+4 dBu. They can be used with just about
any profesX
sional or semi-pro ­instrument, effect or tape player.
MIC PR SERIAL OR PARALLEL?
EFFECTS:
E
XDR
1
MIC PR
E
XDR
–10
–10
RISK OF ELECTRIC SHOCK
DO NOT OPEN
MIC 4
MIC 3
MIC P–5R
E
XDR
5.STEREO LINE INPUTS
(Channels 5–6, 7–8, 9–10 and 11–12)CAUTION
Owner’s Manual
3.LOW CUT (Channels 1–4)
OO
EQ
+15
U
HI
Manual
12kHz
-15
+15
U
EQ
HI
12kHz
1202-VLZ3
MIC 1
MIC 2
MIC PR
E
XDR
MIC 4
MIC 3
MIC PR
E
XDR
MIC PR
E
XDR
L /MONO
7
MIC PR
E
XDR
L
BAL
OR
UNBAL
LINE IN 1
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
IN
C
I
U M
BAL
OR
UNBAL
60
0
+15dB -45dB
GAIN
60
0
+15dB -45dB
GAIN
+15
U
OO
+15
OO
IN
C
I
U M
60
0
+15dB -45dB
GAIN
OO
+15
OO
60
0
+15dB -45dB
GAIN
+15
U
OO
+15
OO
L
R
R
R
2
MAIN OUT
MONO
MONO
MONO
L
L
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
R
R
LINE IN 5–6
LINE IN 7–8
LINE IN 9–10
AUX
U
L
L
AUX SEND
IN
C
R
BAL /UNBAL
TAPE
TAPE
INPUT OUTPUT
MONO
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
AUX
U
+15
U
BAL
OR
UNBAL
I
U M
ALL BAL/UNBAL
1
2
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
AUX
U
7.STEREO RETURNS
OO
IN
C
AUX
U
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
I
U M
BAL
OR
UNBAL
9 10 11
8
R
1
AUX
U
+15
U
OO
+15
OO
AUX
U
+15
U
OO
+15
OO
LINE IN 11–12
AUX
U
12
AUX
U
Use these jacks for convenient tape playback of your
mixes. You’ll be able to review a mix and then rewind
and try another pass without repatching or disturbing
EQmixer levels.
EQ
the
YouEQcan also use these jacks with a
LEFT RIGHT
portable tape or CD playerCONTROL
to
feed ­music to a PA system
ROOM
SOURCE
between sets.
+15
U
OO
+15
OO
+15
U
OO
+15
OO
+15
U
This is where you connect the outputs of your parallel effects devices
(or extra
audioEQsources).
These EQ
EQ
EQ
EQ
balanced inputs are similar to the stereo LINE IN [2]
inputs (without EQ, Aux Sends, Pan, Mute, and Solo).
The circuits will handle stereo or mono, balanced or
unbalanced signals, either instrument level, –10 dBV
WARNING: Engaging both the TAPE and
or +4 dBu. They can be used with just about any pro or
­ASSIGN TO MAIN MIX ­buttons in the CONPAN
PAN The PAN
PAN
PAN
PAN
PAN SOURCE [33] matrix can create
semipro ­effects ­device
onPAN
the market.
signals comTROL
ROOM
ing into these inputs can be adjusted using the STEREO a feedback path between TAPE INPUT and TAPE OUTRETURN [40]
before passing
onto
1 knobs 2
3
4 the main
5/6 mix 7/8 PUT. Make
9/10 sure
11/12
your tape deck is not in record, recordMUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
bus, see page 19.
pause, or input monitor mode, when you engage these
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
switches,
or make
sure the CONTROL ROOM / SUBMIX
One Device: If you have just one parallel effects
[34] level knob is fully counterclockwise (off).
device (two cords), use STEREO RETURN 1 and leave
STEREO RETURN
2 ­unplugged.
That way,
/SUBMIX
MAIN MIX
LEVEL
LEVEL
LEVEL
LEVELthe ­unused
LEVEL
LEVEL
LEVEL
LEVEL
10. TAPE OUTPUT
STEREO RETURN 2 level control can be used to feed
STEREO RETURN 1 to your stage ­monitors, via the
These unbalanced RCA connections tap the main
RETURN TO AUX 1 [41] switch.
mix output to make simultaneous recording and PA
work more convenient. Connect these to your recorder’s
Mono Device: If you have an effects device with
inputs. (See also MAIN MIX [32] on page 16.)
a mono output (one cord), plug that into ­STEREO
RETURN 1, L/MONO, and leave STEREO RETURN 1,
Mono Out: If you want to feed a mono signal to your
RIGHT, unplugged. This way the signal will be sent
tape deck or other device, simply use an RCA Y-cord to
to both sides, magically appearing in the center as a
combine these outputs. Do not attempt this with any
mono signal. This won’t work with STEREO RETURN 2
other outputs on the 1202-VLZ3.
— you’ll need a Y-cord.
OO
U
U
U
HI
12kHz
-15
+15
U
HI
12kHz
-15
+15
U
MID
2.5kHz
-15
+15
U
-15
+15
-15
+15
U
+15
U
-15
+15
-15
+15
U
+15
U
-15
+15
-15
+15
U
+15
U
-15
+15
-15
+15
U
+15
U
+15
-15
+15
U
LOW
80Hz
-15
HI
12kHz
+15
U
MID
2.5kHz
-15
-15
+15
-15
+15
U
0dB=0dBu
+15
U
20
-15
+15
4
LOW
80Hz
-15
7
MAIN MIX
+15
U
2
ALT 3–4
0
+15
2
4
TAPE
7
10
L R
L R
L R
L R
L R
L R
L R
L R
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
U
U
U
CLIP
10
MID
2.5kHz
LOW
80Hz
-15
POWER
HI
12kHz
MID
2.5kHz
LOW
80Hz
-15
+15
U
HI
12kHz
MID
2.5kHz
LOW
80Hz
-15
U
HI
12kHz
MID
2.5kHz
LOW
80Hz
-15
U
HI
12kHz
MID
2.5kHz
LOW
80Hz
-15
U
HI
12kHz
MID
2.5kHz
LOW
80Hz
-15
U
LEVEL
SET
20
30
OO
+12dB
OO
+12dB
OO
+12dB
OO
+12dB
OO
+12dB
OO
+12dB
OO
+12dB
OO
ASSIGN
TO MAIN MIX
+12dB
RUDE
SOLO
LIGHT
U
OO
U
MAX
OO
+12dB
CTL ROOM
8.AUX SEND 1&2
The AUX SEND [31] knobs tap a portion of each
channel's signal to provide an output here to feed external parallel effects processors or stage monitoring. See
the AUX SEND details on page 15.
These 1⁄4" jacks are balanced outputs ­capable of delivering 22 dBu into a 600 ohm balanced or unbalanced
load.
9.TAPE INPUT
These RCA jacks are designed to work with semipro
as well as pro recorders. To compensate for typically
low levels, signals coming in here will be automatically
boosted by 6 dB.
Connect your tape recorder’s outputs here, ­using
standard hi-fi (RCA) cables.
10
1202-VLZ3
11. 1⁄4" MAIN OUTS
These outputs feed the main mix out into the waiting
world. You can feed your amplifiers this way, or through
the XLR MAIN OUTS [13].
These balanced outputs are capable of delivering 22
dBu into a 600 ohm balanced or unbalanced load.
To use these outputs to drive balanced inputs, connect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:
Tip = + (hot)
Ring = –(cold)
Sleeve = Ground
For most music recording and PA applications, unbalanced lines are fine. To drive unbalanced inputs, connect 1⁄4" TS (Tip–Sleeve) phone plugs like this:
Tip = + (hot)
Sleeve = Ground
PHANTOM
ON
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
CAUTION
SERIAL NUMBER
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
MANUFACTURING DATE
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
ALT
OUTPUT
CONTROL
ROOM
L MAIN
BALANCED
R
BAL/UNBAL
BAL/UNBAL
R/4
L
CHANNEL INSERT
( PRE-FADER / PRE EQ TIP SEND / RING RETURN )
2
3
4
L/3
1
MAIN
OUTPUT
LEVEL
13
14
15
12. PHONES
16
17
loed channels, or the Tape input. The volume is adjustable with the CONTROL ROOM/SUBMIX [34]knob.
Owner’s Manual
POWER
ON
This stereo jack will drive any standard headphone
MIC 2
MIC 3
MIC 4
TAPE
TAPE
1
to very loudMIClevels.
Walkperson-type
phones
can also
be
balanced
outputs ­are
capable of delivering 22
INPUT OUTPUT
1 These
L
1
used with an appropriate adapter. To learn how signals
dBuL into a 600
L ohm balanced or unbalanced load.
are routed to these outputs, see SOURCE MATRIX2
R
2
R
R
[33] on page 16. If you’re wiring your own cable for the
16. ALT 3–4 OUTPUT
PHONES output, follow ­standard conventions:
MAIN OUT
AUX SEND
These 1⁄4" outputs are the sum of any channels that
IN 1
LINE IN 2
LINE IN 3
LINE IN 4
L
L
L
L
Tip =LINELeft
channel
have
the MUTE/ALT
3-4 [25] switch pressed in (see
page 13 for the tender details).
Ring = Right channel
MIC PR
E
XDR
MIC PR
E
XDR
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
I
U M
MIC PR
E
XDR
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
I
U M
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
I
U M
Sleeve = Common ground
60
0
+15dB -45dB
GAIN
60
0
+15dB -45dB
GAIN
60
0
+15dB -45dB
GAIN
L /MONO
R
L
R
ALL BAL/UNBAL
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
I
U M
60
0
+15dB -45dB
GAIN
MONO
MONO
MONO
MONO
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
R
R
LINE IN 5–6
These
balanced
outputs are capable of delivering 22
LINE IN 11–12
LINE IN 9–10
LINE IN 7–8
dBu into a balanced or unbalanced load.
WARNING: When we say the headphone
AUX
ampAUX
is loud, AUX
we’re notAUX
kidding. AUX
It can cause
permanent ear damage. Even intermediate
levels may be painfully loud with some earphones. BE
CAREFUL! Always turn the CTL ROOM/ SUBMIX [34]
EQ down before
EQ
EQ
EQ
EQ
knob all the way
connecting
headphones.
Keep it down until you’ve put the phones on. Then turn
it up slowly. Why? “Engineers who fry their ears find
themselves with short careers.”
U
U
U
U
U
AUX
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
U
OO
+15
OO
+15
OO
+15
OO
+15
OO
+15
OO
+15
U
U
U
HI
12kHz
-15
+15
U
+15
U
MID
2.5kHz
-15
+15
U
-15
+15
U
+15
U
+15
U
LOW
80Hz
-15
+15
HI
12kHz
-15
+15
U
MID
2.5kHz
-15
13. XLR MAIN
PANOUTS PAN
+15
U
HI
12kHz
-15
MID
2.5kHz
LOW
80Hz
-15
U
HI
12kHz
-15
-15
+15
+15
U
+15
U
-15
+15
PAN
OO
+15
U
-15
OO
+15
PAN
+15
U
PAN
L R
L R
L R
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
OO
+12dB
OO
+12dB
-15
+15
SOLO
OO
Engaging this switch reduces the level of the balanced XLR main outputs by 40 dB, so you can feed the
­microphone input of, say, ­another mixer. (You can safely
connect the XLR outputs into an input that provides 48V
phantom power.)
15. CONTROL ROOM
These 1⁄4" outputs are provided so you can listen
to something other than the main mix. The source is
selected using the SOURCE MATRIX [33] switches (see
page 16). You can choose to listen to the main mix, the
Alt 3-4 stereo bus (see MUTE/ALT 3-4 on page 13), So-
4
2
ALT 3–4
0
+15
PAN
2
PAN
4
The channel insert points are after the GAIN [4] and
LOW CUT [3] controls, but before the channel’s EQ
9/10
11/12
MUTE [23] controls. The send (tip) is low[27]MUTE
and LEVEL
impedance
(120
SOLO
SOLO ohms), capable of driving any line-level
device. The return (ring) is high-impedance (over 2.5 k
ohms) and can be driven by almost any device.
+12dB
LEVEL
14. XLR MAIN OUTPUT LEVEL SWITCH
7
MAIN MIX
+15
U
LOW
80Hz
-15
CLIP
10
TAPE
10
L R
L R
ALT 3–4
ALT 3–4
PRE FADER
PRE FADER
U
U
LEVEL
SET
20
30
U
+12dB
20
MID
2.5kHz
7
PRE FADER
OO
0dB=0dBu
+15
U
LOW
80Hz
-15
POWER
HI
12kHz
-15
+15
U
PAN
L R
+12dB
+15
U
MID
2.5kHz
-15
+15
+15
U
LOW
80Hz
L R
OO
OO
MID
2.5kHz
L R
+12dB
+15
+15
U
HI
12kHz
-15
Use these to send the main mix out into the line-level
1
2
3
4
5/6
7/8
balanced MUTE
inputs
ofMUTE
your
amplifier
or powered
speakers.
MUTE
MUTE
MUTE
MUTE
OO
OO
HI
12kHz
+15
U
-15
SOLO
SOLO
SOLO
SOLO
These low-impedance
outputs
are SOLO
fully balanced
and capable of driving +4 dBu lines with up to 28 dB
of headroom. This output is 6 dB hotter than other
LEVEL
LEVEL
LEVEL
LEVEL
outputs. LEVEL
+15
U
U
LOW
80Hz
-15
AUX
U
These rear-panel jacks are where you connect serial
effects
such
as compressors,
equalizers, de-essers, or
EQ
EQ
EQ
filters. Since most peopleCONTROL
don’t haveLEFT
more
RIGHTthan a few of
ROOM
these ­gadgets, we’ve included
inserts
for
just the first
SOURCE
four channels. If you want to use this kind of processing on channels 5 through 12, simply patch through the
­processor before you plug into the 1202-VLZ3.
U
MID
2.5kHz
LOW
80Hz
-15
-15
AUX
U
17. CHANNEL INSERT (Channels 1–4 )
HI
12kHz
-15
MID
2.5kHz
LOW
80Hz
-15
BAL /UNBAL
MIC PR
E
XDR
OO
+12dB
OO
LEVEL
tip
ring
ASSIGN
TO MAIN MIX
+12dB
LEVEL
sleeve
RUDE
SOLO
LIGHT
U
OO
MAX
CTL ROOM /SUBMIX
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
U
OO
+12dB
MAIN MIX
SEND to processor
“tip”
“ring”
RETURN from processor
See Appendix B for details and drawings about Insert
cables, and a diagram showing three ways to use the
jacks.
Besides being used for inserting external devices,
these jacks can also be used as channel direct outputs;
post-GAIN, post-LOW CUT, and pre EQ. In fact, Mackie
mic preamps have become so famous, that people buy
these mixers just to have four of these in their arsenal.
Owner’s Manual
11
1202-VLZ3
21 22
POWER
ON
PHANTOM
ON
WARNING:
CAUTION
18
19
SERIAL NUMBER
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
MANUFACTURING DATE
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
ALT
OUTPUT
CONTROL
ROOM
L MAIN
BALANCED
R
BAL/UNBAL
BAL/UNBAL
R/4
L
CHANNEL INSERT
( PRE-FADER / PRE EQ TIP SEND / RING RETURN )
2
3
4
L/3
1
MAIN
OUTPUT
LEVEL
20
18. POWER CONNECTION
21. POWER SWITCH
Just in case you lose the cord provided with the 1202VLZ3, its power jack accepts a standard ­3-prong IEC
MIC 1
MIC 4
2
3
cord like those
foundMICon
mostMICprofessional
recorders,
1
musical instruments, and computers.
Press the top of this rocker switch inwards to turn on
the mixer. The power LED on the top surface of the mixTAPE
TAPE
OUTPUT
INPUT
er1 will
glow
with happiness,
or at least it will if you have
L
L
the Lmixer plugged
in to a suitable live AC mains supply.
R
L /MONO
MIC PR
E
XDR
MIC PR
E
XDR
MIC PR
E
XDR
ALL BAL/UNBAL
MIC PR
E
XDR
L
R
2
BAL /UNBAL
R
2
R
R
WARNING: Before you plug the AC power cord
Press
the bottom
of this switch to put the mixer into
into the 1202-VLZ3, you must make sure that AUX SEND
standby mode. ItMAINwill
not function, but the circuits are still
OUT
the VOLTAGE SELECTOR [20] slide switch is live. To remove AC power, either turn off the AC mains supLINE IN 1
LINE IN 2
LINE IN 3
LINE IN 4
L
L
L
L
set to the same voltage as your local AC mains
ply, or unplug the power cord from the mixer and the AC
supply.
mains supply.
BAL
OR
UNBAL
U
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
IN
IC
M
BAL
OR
UNBAL
U
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
IN
IC
M
BAL
OR
UNBAL
U
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
IN
IC
M
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
dBV
-10G
A
IN
C
I
U M
MONO
MONO
MONO
MONO
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
R
R
WARNING: Disconnecting the plug’s ground
LINE IN 5–6
GAIN
GAIN
pin
can beGAIN
dangerous.
PleaseGAIN
don’t do
it.
60
0
+15dB -45dB
AUX
U
19. FUSE
OO
60
0
+15dB -45dB
+15
U
AUX
U
OO
60
0
+15dB -45dB
+15
U
AUX
U
OO
60
0
+15dB -45dB
+15
U
AUX
U
OO
+15
U
AUX
U
OO
+15
U
U
OO
+15
OO
U
+15
OO
U
HI
12kHz
-15
+15
U
-15
+15
U
+15
U
+15
+15
U
MID
2.5kHz
-15
+15
U
+15
U
+15
U
+15
U
+15
U
-15
+15
U
LOW
80Hz
-15
+15
OO
EQ
-15
+15
-15
OO
+15
OO
EQ
U
-15
+15
U
EQ
POWER
HI
12kHz
-15
-15
+15
U
0dB=0dBu
+15
U
MID
2.5kHz
20
-15
7
MAIN MIX
+15
U
CLIP
10
MID
2.5kHz
4
Press the top of the switch inwards to engage phantom power
to the PAN
four MIC inputs. Press the bottom of
PAN
PAN
the switch to turn it off.
LOW
80Hz
+15
+15
U
HI
12kHz
MID
2.5kHz
+15
U
+15
U
This global rocker switch
controls LEFT
theRIGHT
phantom power
CONTROL
ROOM
supply for condenser microphones
plugged into channel
SOURCE
MIC [1] inputs (see page 8).
+15
U
LOW
80Hz
-15
+15
U
HI
12kHz
MID
2.5kHz
-15
U
22. PHANTOM SWITCH
+15
U
MID
2.5kHz
-15
+15
OO
OO
HI
12kHz
-15
LOW
80Hz
-15
+15
U
MID
2.5kHz
-15
+15
OO
HI
12kHz
-15
LOW
80Hz
-15
+15
U
HI
12kHz
-15
LOW
80Hz
-15
OO
HI
12kHz
MID
2.5kHz
-15
+15
U
U
+15
U
The 1202-VLZ3 is fused for your (and its own) protecEQ
EQ fuse, EQ
EQ the ACEQ
tion. If you suspect
a blown
disconnect
mains power cord, pull the fuse drawer out (located
just below the cord receptacle) and replace the fuse
with a 500 mA (0.5 amps) SLO BLO 5x20mm, available
at electronics stores or your dealer. Use a 250 mA fuse if
your local voltage
is 220-240
VAC.PAN
PAN
PAN
PAN
PAN
OO
AsLINEa INgeneral
guide, you should turn on your mixer
LINE IN 11–12
9–10
first, before the power amplifier or powered speakers,
AUX
and turnAUX
it off last.AUXThis will reduce the possibilities of
any turn-on, or turn-off thumps in your speakers.
LINE IN 7–8
LOW
80Hz
-15
+15
LOW
80Hz
-15
2
ALT 3–4
0
+15
2
4
TAPE
7
LEVEL
SET
If two fuses blow in a row, something is very wrong.
1our toll-free
2
3 1-800-898-3211
4
5/6from 7/8
9/10 turned
11/12
Please callMUTE
number
When
on (or off), the phantom power circuitry
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
within the U.S. (or the distributor in your country) and
takes a few moments for voltage to ramp up (or down).
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
find out what
to do.SOLO
This is perfectly normal. Just like me. Oh, and my imaginary friend Lazlo who helps me write all the manuals.
Say hello to the nice folks Lazlo.
20. VOLTAGE SELECTOR
/SUBMIX
MAIN MIX
10
L R
L R
L R
L R
L R
L R
L R
L R
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
U
U
U
U
U
U
U
U
20
30
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
+12dB
LEVEL
OO
WARNING: Before you plug the AC power
cord into the 1202-VLZ3, you must make sure
that this slide switch is set to the same voltage as your local AC main supply. Only slide the voltage
switch with the power cord unplugged.
Use a flat headed screwdriver to slide the switch if
needed. The switch allows you to use the mixer in different countries and voltages, meet interesting people from
other cultures, and entertain them with your unique
blend of Rockabilly Funkadelia Thrash Metal.
12
1202-VLZ3
+12dB
LEVEL
OO
+12dB
LEVEL
OO
ASSIGN
TO MAIN MIX
+12dB
LEVEL
RUDE
SOLO
LIGHT
U
OO
CTL ROOM
U
MAX
OO
+12dB
Owner’s Manual
Channel Strip Description
The eight channel strips look alike, and function iden- mix, or to just check out what a particular channel is up
tically. The only difference is that the four on the left
to anytime during a session. You can solo as many chanare for individual mics or mono instruments and have
nels at a time as youR like.ALL BAL/UNBAL
BAL/UNBAL
L /MONO
MIC 1
MIC 2
MIC 3
MIC 4
TAPE
TAPE
I
I
I
I
C
C
C
C
M
M
M
M
P
P
P
P
R
R
R
R
more gain
available,
while
the
next
four
are
for
either
R
RE
RE
RE
E
INPUT OUTPUT
XD
XD
XD
XD
1
L
1
Solo is also the key player in the Level-­Setting Procestereo or mono line-level sources. (Each of the stereo
dure on page 3.
L
L
channel strips is actually two complete circuits. The
controls are linked together to preserve stereo.) We’ll
R
L
Soloed channels
are
sent to the 2SOURCE mix, which
R
2
start at the ­bottom and work our way up…
ultimately feeds your control room, phones
and meterR
R
display. Whenever SOLO is engaged, all SOURCE selections
(MAIN MIX, ALT 3-4 and TAPE) are defeated, to
“U” LIKE UNITY
GAIN
BAL
BAL
BAL
BAL
MAIN OUT
AUX SEND
OR
OR
OR
OR
allow the soloedMONO
signal to do
just
that — solo!MONO
UNBAL
UNBAL
UNBAL
UNBAL
MONO
MONO
Mackie mixers
have a “U” symbol
on almost
every
level LINE
control.
This
“U”
stands
for
“unity
gain,”
meaning
IN 1
LINE IN 2
LINE IN 3
LINE IN 4
WARNING:
PRE-FADER
L
L SOLO taps the
L chanL
CUT
LOW CUT
LOW CUT
LOW CUT
no change inLOW
signal
level. Once
the
nel ­signal
before
the
LEVEL
knob.
If
you
have
75 Hz
75 Hzyou have adjusted
75 Hz
75 Hz
BAL
BAL
BAL
BAL
18dB/OCT
18dB/OCT
18dB/OCT
OR
OR set below “U”
OR(unity
OR
input signal
at -10d18dB/OCT
a channel’s
LEVEL knob
dBcontrol
dBto
BV
0dBV can set every
V line-level,-1you
V
-10G
-10G
UNBAL
UNBAL
UNBAL
UNBAL
G
G
A
A
A
A
IN
IN
IN
IN
IC
IC
IC
IC
M
M
M
M
“U” andU your signals will
U travel through
U the mixer at U
gain), SOLO won’t know that and will send a unity gain
R
R
R
R
optimal levels. What’s more, all the labels on our level
signal to the control
room, phones
and meter display.
60
60
60
0
0 decibels
0 so 60
0
controls+15dB
are
measured
in
(dB),
you’ll know+15dB
That may result in a startling level boost at these out-45dB
+15dB -45dB
+15dB -45dB
-45dB
LINE IN 11–12
LINE IN 9 –10
LINE IN 7– 8
GAIN
GAIN
GAIN
GAIN
what you’re doing level-wise if you choose to change a
puts. LINE IN 5–6
control’s settings.
AUX
U
OO
OO
+15
U
OO
OO
OO
+15
OO
OO
OO
EQ
U
HI
12kHz
-15
+15
U
EQ
+15
U
+15
+15
U
24
+15
-15
+15
LOW
LOW
25. MUTE/ALT
3–4
U
AUX
AUX
U
AUX
U
AUX
U
The dual-purpose MUTE/ALT 3–4 bus is a Mackie
signature. When
Greg was +15
designing our first
product, +15
+15
+15
U
he had to include
a mute Uswitch for eachUchannel. MuteU
switches do just what they sound like they do. They turn
off the signal
by “routing” it+15into oblivion. +15
“Gee, what a +15
+15
waste,” Greg
reasoned.
“Why
not
have
the
mute button U
U
U
U
EQ
EQ
EQ
EQ
route
the
signal
somewhere
else
useful…
like aHIsepaHI
HI
HI
12kHz
12kHz
rate
stereo bus?”12kHz
So MUTE/ALT12kHz
3–4 really serves
two
-15 +15
-15 +15
-15 +15
functions U— muting (often
used during Ua mixdown or-15 U+15
U
live
show), and signal
routing (for
multitrack and
live
MID
MID
MID
MID
2.5kHz
work)
where it 2.5kHz
acts as an ­extra2.5kHz
stereo bus. 2.5kHz
OO
OO
OO
OO
OO
OO
OO
OO
-15
+15
-15
+15
-15
+15
-15
AUX
EQ
HI
12kHz
MID
2.5kHz
+15
U
U
U
To use this
as a MUTE switch,
all you have
to do is U
LOW use the ALT LOW
LOW Then, whenever
LOW you
LOW
not
3–4 [16] outputs.
80Hz
80Hz
80Hz
80Hz
80Hz
press this
switch,
you
will
assign
a
channel
to
these
un-15 +15
-15 +15
-15 +15
-15 +15
used
it PAN
from the main PAN
mix, and
PAN outputs, disconnecting
PAN
PAN
effectively muting the channel.
To use Lthis
R as an ALT 3–4
L R
L R
L R switch, all you
L R have to do L R
Channels 1 through
4 use mono
is
connect
the
ALT
3–4
outputs
to
whatever
2
3
5/6
7/8
9/10 destination
11/12
controls,
and channels
5 through4
MUTE
MUTE
MUTE you desire.
MUTE
MUTE
MUTE
MUTE
Here
are
two
popular
examples:
–4 stereo controls,
ALT
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
12 3use
and so they
may
feel
slightly
different.
Not
a
PRE FADER
PRE FADER
PRE FADER
FADER multitrack
PRE FADER
PRE FADER
WhenPREdoing
recording, use
the ALT 3–4PRE FADER
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
problem.
outputs
to
feed
your
multitrack.
With
most
decks, you
U
U
U
U
U
U
U
can "mult" the ALT 3–4 [16] outputs, using Y-cords or
mults, to feed multiple tracks. So, take ALT OUTPUT L
24.PRE-FADER SOLO
and send it to tracks 1, 3, 5 and 7, and ALT OUTPUT R
This
lovable switch+12dB
allows you +12dB
+12dB
+12dB8. Now, tracks
+12dB
+12dB
and send it to+12dB
tracks 2, 4, 6 and
that are
to LEVEL
hear signals through
LEVEL your headLEVEL
LEVEL
LEVEL
LEVEL
LEVEL
in Record or Input modes will hear the ALT 3–4 signals,
phones or control room without
and tracks in Playback or Safe modes will ignore them.
having to route them to the main
mix or ALT 3-4 mix. You don’t even
When doing live sound or mixdown, it’s often handy
have to have the channel’s LEVEL to control the level of several channels with one knob.
[23] knob turned up. Folks use
That’s called subgrouping. Simply assign these channels
solo in live work to preview chanto the ALT 3–4 mix, engage ALT 3–4 in the SOURCE
nels before they are let into the
[33] matrix, and the signals will appear at the CONL R
1
MUTE
ALT 3–4
PRE FADER
SOLO
U
23
OO
-15
U
This adjusts theU channel’s
MID
MIDgain at
level…2.5kHz
from
off, to unity
2.5kHz
the
detent,
on
up
to
12
dB of ad-15 +15
-15 +15
-15 +15
U
U
U
ditional
gain.
80Hz
80HzequivaThe LEVEL
knob is the
+15
-15
-15 fader,
-15 +15
lent+15of a channel
so somePAN times we
PAN
lapse and sayPAN
the word
fader.
L R
25
HI
12kHz
23. LEVEL
LOW
80Hz
-15
EQ
HI
12kHz
-15
MID
2.5kHz
-15
You won’t
AUX have Uto check
AUXit hereU
and check it there, as you would
with some other mixers. In fact,
+15
+15
+15
U
U
some
don’t even have
any refer- U
ence to actual dB levels at all!
You were smart — you bought a
+15
+15
+15
Mackie.
U
U
U
U
+12dB
LEVEL
OO
OO
OO
OO
OO
OO
Owner’s Manual
OO
13
1202-VLZ3
CONSTANT LOUDNESS ! ! !
TROL ROOM [15] and PHONES [12] output­s. If you
want the ALT 3–4 signals to go back into the main mix,
engage the ­ASSIGN TO MAIN MIX [36] switch, and the
­CONTROL ROOM/SUBMIX [34] level control becomes
the one knob to control the ­levels of all the channels
assigned to ALT 3–4.
The 1202-VLZ3’s PAN controls employ a design called
“Constant Loudness.” It has nothing to do with living
next to an all-night disco. As you turn the PAN [26]
knob from left to right (thereby causing the sound to
move from the left to the center to the right), the sound
will appear to remain at theALLsame ­volume
(or loudness).
Another way to do the same thing is assign the chanBAL/UNBAL
R
L /MONO
MIC 1
MIC 2
MIC 3
MIC 4
TAPE
TAPE
MIC PR
MIC PALT
MICpatch
PRE
R
R
R
R
RE
nels to the XALT
mix, then
out
of
the
3–4
D
D
D
DR MIC P3–4
E
E
OUTPUT
INPUT
X
X
X
1
If you have a channel
panned hard1left (or right)
and
OUTPUT [16]back into an unused stereo channel LINE
reading 0 dB, it must dip down about 4 dB
on
the
left
L
L
INPUT [2]. If that’s your choice, don’t ever engage the
(or right) when panned center. To do otherwise (the
MUTE/ALT 3–4 switch on that stereo channel, or you’ll
R
L
2
way Brand X compact
mixers do) would
make the sound
2
have every dog in the neighborhood howling at your
R
R
appear much louder when panned center.
feedback loop.
BAL/UNBAL
L
R
BAL
Another benefitBAL
of the ALT 3–4BAL
feature is thatBAL
it can
3-BAND
EQ
MAIN OUT
AUX SEND
OR
OR
OR
OR
UNBAL
UNBAL
UNBAL
UNBAL
MONO
MONO
MONO
MONO
act as a “SIP” (Solo-In-Place): just engage a channel's
The 1202-VLZ3 has 3-band equalization at carefully
MUTE/ALT
and IN
the2 ALT 3–4LINE
switch
LINE 3–4
IN 1 switch LINE
IN 3 in the LINE IN 4
L
L
L
selected
points — LOW
shelving atL 80 Hz, MID peaking
LOW CUT
LOW CUT
LOW CUT
LOW CUT
SOURCE matrix
and
you’ll
get
that
channel,
all
75 Hz
75 Hz
75by
Hz itself,
75 Hz
BAL “Shelving” BAL
BAL
at
2.5 kHz, and HI BAL
shelving
at 12 kHz.
means
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
OR
OR
OR
OR
in the control
and phones.
dBV
dBV
dBV
droom
BV
-10G
-10G
-10G
-10G
UNBAL
UNBAL
UNBALthe
UNBAL
AIN
the
circuitry
boosts
or
cuts
all
frequencies
past
IC AIN
IC AIN
IC AIN
IC that
M
M
M
M
U
U
U
U
the LOW
MUTE/ALT 3–4 is one of those controls that can bewil- ­specified frequency.RFor example, rotating
R
R EQ
R
knob
15
dB
to
the
right
boosts
bass
starting
at
80
Hz
and
der newcomers,
and play0 around
with 0 60
60so take your
60
60
0
0 time
+15dB -45dB
+15dB -45dB
-45dB
-45dB
continuing
down to the lowest
note you never
heard. LINE IN 11–12
it. Once you’ve
got it down,
you’ll probably+15dB
think
of a +15dB
LINE IN 5–6
LINE IN 9 –10
LINE IN 7– 8
GAIN
GAIN
GAIN
GAIN
“Peaking” means that certain ­frequencies form a “hill”
hundred uses for it!
around the center ­frequency — 2.5 kHz in the case of
U
U
U
U
U
U
U
theAUX
MID EQ.U
AUX 26. PAN
AUX
AUX
AUX
AUX
AUX
AUX
31
PAN adjusts the amount of
27. LOW EQ+15
+15
+15to the left
+15
+15
+15
+15
channel
signal sent
U
U
U
U
U
U
U
+15
This control gives you
versus the right outputs. On
+10
up to 15 dB boost or cut
mono channels (ch. 1–4 or
+15
+15
+15
+15
+15
+15
+15
+15
below 80 Hz. The circuit is +5
5–12 with connections to the L
U
U
U
U flat (no boost
U or cut) at the U 0
U
U
EQ input only)
EQthese controls
EQact
EQ
EQ
EQ
EQ
EQ
–5
HI
HI
HI
HI detent position.
HI
HI
HI
HI
center
This
as
pan
pots.
On ­stereo
channels
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
–10
frequency
represents
the
(5–12) with stereo
connections
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
–15
U
U drums, bass U 20
U 1k
U
100
10k 20k
toUL and R ­inputs,U the PAN knob U punch in bass
Low
EQ
MID
MID the balance control
MID
MID fat synth patches,
MID
MID
MID
MID
guitar,
works like
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
+15
and
some
really
serious
on
your
home
stereo.
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
U
U
U
U male singers.
U
U +10
U
U
PAN determines
the fate
of
+5
LOW
LOW
LOW
LOW
LOW
LOW
LOW
LOW
80Hz
80Hz
80Hz in conjunction
80Hz with
80Hz
80Hz
80Hz
Used
0
the main80Hz
mix and ALT 3–4
mix.
+15
+15
+15
+15
+15
+15
+15
-15 +15
-15
-15
-15
-15
-15
-15
-15
–5
the LOW CUT [3] switch,
With the PAN knob hard left,
PAN the signal
PAN
PANMAIN youPAN
PAN
PAN
can boost the PAN
LOW EQ –10 PAN
will feed either
–15
OUT L (bus 1) or ALT OUTPUT without injecting a ton of
20
100
1k
10k 20k
Cut
LL(bus
3), depending
on the L R subsonic debris
R
R
L R
L R
L R into the
L R Low EQ withL Low
L R
mix.
position
of
the
ALT
3–4
switch.
1
2
3
4
5/6
7/8
9/10
11/12
MUTE
MUTE
MUTEright, the MUTE
MUTE
MUTE
MUTE
MUTE
With the knob hard
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
signal feeds MAIN OUT R (bus
28. MID EQ
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
PRE FADER
+15
2) or ALT OUTPUT
SOLO
SOLO
SOLOR (bus 4). SOLO
SOLO
SOLO
Short forSOLO
“midrange,” SOLO+10
U
U
U
U
U
U
U
U
this knob provides 15 dB
+5
of boost or cut, centered at 0
2.5 kHz, also flat at the cen- –5
–10 +12dB
+12dB
+12dB
+12dB
+12dB
+12dB EQ
+12dB
+12dB
ter
detent. Midrange
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
–15
is ­often thought
of as the LEVEL
20
100
1k
10k 20k
most dynamic, because the
Mid EQ
frequencies that define any
particular sound are almost always found in this range.
You can create many interesting and useful EQ changes
by turning this knob down as well as up.
OO
30
+15
U
OO
29
28
27
26
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
Hz
Hz
OO
OO
OO
OO
OO
1202-VLZ3
Hz
OO
Hz
Hz
Hz
Hz
Hz
Hz
OO
Hz
14
Hz
Hz
OO
Hz
Hz
Hz
This control gives you up
to 15 dB boost or cut above
12 kHz, and it is also flat
at the detent. Use it to add
sizzle to cymbals, and an
overall sense of transparency, or edge to keyboards,
­vocals, guitar and bacon
­frying. Turn it down a little
to reduce ­sibilance, or to
hide tape hiss.
Each AUX send level ranges from off through unity
(the center detent position) on up to 15 dB of extra gain
(when turned fully clockwise). Chances are you’ll never
need this extra gain, but it’s nice to know it’s there if
you do.
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
High EQ
MODERATION DURING EQ
With EQ, you can also screw things up royally. We’ve
designed a lot of boost and cut into each equalizer circuit, because we know everyone will occasionally need
that. But if you max the EQs on every channel, you’ll
get mix mush. Equalize subtly and use the left sides of
the knobs (cut), as well as the right (boost). Very few
gold-record-album engineers ever use more than about
3 dB of EQ. If you need more than that, there’s usually a
better way to get it, such as placing a mic differently (or
using a different kind of mic entirely).
Channel 5–12 AUX knobs control the mono sum of
the channel’s stereo signals for each AUX send. For
instance, channel 5 (L) and 6 (R) mix together to feed
that channel’s AUX send knobs.
We recommend going into a stereo reverb in mono and
returning in stereo. We have found that on most “stereo”
reverbs the second input just ties up an extra AUX send
and adds nothing to the sound. There are exceptions, so
feel free to try it both ways. If your effects device is true
stereo all the way through, use AUX 1 to feed its left
input and AUX 2 to feed the right input.
Owner’s Manual
29. HI EQ
Still with us? Good for you. Here come the tricky
parts, the output or master section where the mixing is
really done. We have even started it on a new page:
30. AUX 2 SEND
31. AUX 1 SEND
These knobs allow you to tap a portion of each channel signal out to another source for parallel effects
processing or stage monitoring. AUX send levels are controlled by these knobs and by the AUX 1 MASTER [39].
These are more than just effects and monitor sends.
They can be used to generate separate mixes for recording or “mix-minuses” for broadcast. By using AUX 1 in
the PRE mode, these mix levels can be obtained independently of the channel’s LEVEL control.
AUX 1 in post mode and AUX 2 are post-LOW CUT,
post-EQ and post-LEVEL. That is, the sends obey the
settings of these controls. AUX 1 in PRE mode follows
the EQ and LOW CUT settings only. PAN and LEVEL
have no effect on the PRE send (see diagram below).
LEVEL
INPUT
GAIN
LO CUT
INSERT
PAN
EQ
MAIN / ALT
"POST" SIGNAL OBEYS
MUTE STATUS
“Pre vs. Post”
AUX 2 KNOB
TO AUX SEND 2 LEVEL
Signal Flow Diagram
"POST" SIGNAL
"PRE" SIGNAL
AUX 1 KNOB
TO AUX SEND 1 LEVEL
AUX SEND 1 PRE/POST SWITCH
(IN MASTER SECTION)
Owner’s Manual
15
UNBAL
R
1202-VLZ3
Output Section
LINE IN 11–12
OO
OO
33. CONTROL ROOM SOURCE MATRIX
AUX
U
Typically, the engineer sends the main mix to an
audience (if live) or a mixdown deck (if recording). But
what if the engineer in the control room needs to hear
something other than the main mix? With the 1202VLZ3, the engineer has several choices of what to listen
to. This is one of those tricky parts, so brace yourself.
+15
U
+15
EQ
U
POWER
HI
12kHz
-15
+15
U
MID
2.5kHz
-15
33
LEFT RIGHT
0dB=0dBu
20
7
4
37
2
ALT 3–4
0
+15
2
PAN
4
TAPE
7
10
L R
11/12
MUTE
ALT 3–4
36
30
ASSIGN
TO MAIN MIX
SOLO
U
35
RUDE
SOLO
LIGHT
U
U
34
+12dB
LEVEL
LEVEL
SET
20
PRE FADER
OO
CLIP
10
MAIN MIX
+15
U
LOW
80Hz
-15
CONTROL
ROOM
SOURCE
OO
MAX
CTL ROOM /SUBMIX
32
OO
+12dB
MAIN MIX
32. MAIN MIX
This knob controls the levels of signals sent to the
main outputs: XLR [13] and 1⁄4" [11] and RCA TAPE
OUTPUT [10]. All channels and STEREO RETURNS [7]
that are not muted or turned fully down will wind up in
the main mix.
Fully counterclockwise is off, the center ­detent is
unity gain, and fully clockwise ­provides 12 dB ­of additional gain. This additional gain will typically never be
needed, but once again, it’s nice to know it’s there. This
is the knob to turn down at the end of the song when
you want The Great Fade-Out.
Via these SOURCE switches, you can choose to listen
to any combination of main mix, ALT 3-4 and Tape. By
now, you probably know what the main mix is. ALT 3-4 is
that additional stereo mix bus. Tape is the stereo signal
coming in from the TAPE INPUT [9] jacks.
Selections made in the source matrix deliver stereo
signals to the control room, phones and meter display.
With no switches ­engaged, there will be no signal at
these outputs and no meter indication.
The exception is the solo function. Regardless of
the source selection, engaging a channel’s SOLO [24]
switch will replace that selection with the solo signal,
also sent to the control room, phones and right meter
(the left meter becomes inactive). This is what makes
the Level-Setting ­Procedure so easy to do.
WARNING: Engaging both the TAPE and
­ASSIGN TO MAIN MIX [36] ­buttons can
create a feedback path between TAPE INPUT
[9] and TAPE OUTPUT [10]. Make sure your tape deck
is not in record, record-pause, or input-monitor mode
when you engage these switches, or make sure the CONTROL ROOM / SUBMIX 34] level knob is fully counterclockwise (off).
Now you know how to select the signals to send to the
engineer’s control room or phones. From there, these
signals all pass through the same level control:
34. CONTROL ROOM/SUBMIX
This knob controls the ­levels of both the stereo CONTROL ROOM [15] and PHONES [12] outputs. The control range is from off through unity gain at the detent,
with 10 dB of extra gain (when turned fully clockwise).
When MAIN MIX is your control room source selection, those signals will now pass through two level controls on the way to your control room amp and phones
— the MAIN MIX [32] knob and this CONTROL ROOM
/ SUBMIX knob. This way, you can send a nice healthy
level to the main output (MAIN MIX knob at “U”), and
a quiet level to the control room or phones (CONTROL
ROOM / SUBMIX knob wherever you like it).
When ALT 3-4 or TAPE is selected, or SOLO [24] is
engaged, the CONTROL ROOM / SUBMIX knob will be
the only one controlling these ­levels (channel controls
not withstanding).
16
1202-VLZ3
A WORD ABOUT PRE-FADER SOLO (PFL)
Engaging a channel’s SOLO [24] switch will cause
this dramatic turn of events: Any existing control room
source selections will be replaced by the solo signal,
appearing in the control room, headphones, and in the
right meter. The ­audible solo levels are then controlled
by the CONTROL ROOM / SUBMIX [34] knob. The solo
levels appearing on the right meter display are not controlled by anything — you wouldn’t want that. You want
to see the actual channel level on the meter display
­regardless of how loud you’re listening.
“PRE-FADER” SOLO means that the channel signal
is being tapped before the channel’s LEVEL [23] knob
(not really a fader in this case, but we were afraid you’d
laugh if we called it Pre-Knob Solo). It does, however,
obey GAIN [4], LOW CUT [3] and EQ [27] settings,
making it the perfect tool for quick inspections of suspect channels. The channel’s PAN [26] and MUTE/ALT
3-4 [25]settings have no effect on the solo signal.
Note: For stereo channels 5-12, the solo signal is the
mono sum of the left (odd-numbered) and right (evennumbered) signals for that channel strip.
WARNING: PRE-FADER SOLO [24] taps the
channel signal before the LEVEL knob. If you
have a channel’s LEVEL knob set below “U”
(unity gain), SOLO won’t know that, and will send a
unity gain signal to the control room, phones and meter
display, that may result in a startling level boost at these
outputs.
35. RUDE SOLO LIGHT
This flashing Light Emitting Diode serves two purposes — to remind you that at least one channel is in solo,
and to let you know that you’re mixing on a Mackie. No
other company is so concerned about your level of solo
awareness. If you work on a mixer that has a solo function with no indicator lights, and you happen to forget
you’re in solo, you can easily be tricked into thinking
that something is wrong with your mixer. Hence the
RUDE SOLO LIGHT. It’s especially handy at about 3 a.m.
when no sound is coming out of your monitors but your
multitrack is playing back like mad.
36. ASSIGN TO MAIN MIX
Let’s say you’re doing a live show. Intermission is nearing and you’ll want to play a soothing CD for the crowd
to prevent them from eating the furniture. Then you
think, “But I have the CD player plugged into the TAPE
­inputs, and that never gets to the MAIN OUTS!” Oh, but
it does. Simply engage this switch and your control room
source selection,­ ­after going through the CONTROL
ROOM / SUBMIX [34] knob, will feed into the main mix,
just as if it were ­another stereo channel.
Another handy use for this switch is to enable the ALT
3-4 mix to become a submix of the main mix, using the
CONTROL ROOM/SUBMIX knob as its level control.
Owner’s Manual
Whatever your selection, you can also use the CONTROL ROOM [15] outputs for other applications. Its
sound quality is just as impeccable as the MAIN OUTS
[11 and 13]. It can be used as additional main mix
output, which may sound silly since there are already
three, but this one has its own level control. However,
should you do something like this, be sure that you do
not engage a SOLO switch, as that will ­interrupt your
SOURCE selection.
Side effects: (1) Engaging this switch will also feed
any soloed channels into the main mix, which may be
the last thing you want. (2) If you have MAIN MIX as
your control room source selection and then engage ASSIGN TO MAIN MIX, the main mix lines to the control
room will be interrupted to prevent feedback. Then
again, why would anyone want to ­assign the main mix to
the main mix?
37. METERS – MANY DISPLAYS IN ONE!
The 1202-VLZ3’s peak metering system is made up of
two columns of twelve LEDs. Deceptively simple, considering the multitude of signals that can be monitored by
it.
If nothing is selected in the SOURCE ­matrix and no
channels are in SOLO, the METERS will just sit there
and do nothing. To put them to work, you must make
a selection in the SOURCE matrix (or engage a SOLO
switch).
Why? You want the meter display to reflect what the
engineer is listening to, and as we’ve covered, the engineer is listening either to the CONTROL ROOM [15]
outputs or the PHONES [12] outputs. The only difference is that while the listening levels are controlled by
the CONTROL ROOM / SUBMIX [34] knob, the meters
read the SOURCE mix before that control, giving you the
real facts at all times, even if you’re not listening at all.
Thanks to the 1202-VLZ3’s wide dynamic range,
you can get a good mix with peaks flashing anywhere
between –20 and +10 dB on the METERS. Most amplifiers clip at about +10 dB, and some recorders aren’t so
forgiving either. For best real-world results, try to keep
your peaks between “0” and “+7”.
You may already be an ­expert at the world of “+4” (+4
dBu=1.23 V) and “–10” (–10 dBV=0.32 V) operating
levels. Basically, what makes a mixer one or the other
is the relative 0 dB VU (or 0 VU) chosen for the meters.
A “+4” mixer, with a +4 dBu signal pouring out the back
will actually read 0 VU on its meters. A “–10” mixer,
with a –10 dBV signal trickling out, will read 0VU on its
meters. So when is 0 VU actually 0 dBu? Right now!
Owner’s Manual
17
1202-VLZ3
APE
TPUT
BAL /UNBAL
Remember, audio meters are just tools to help ­assure
L
you that your levels are “in the ballpark.” You don’t have
to stare at them ­(unless you want to).
L
ARWord About Aux
R
First of all, there is no ­particular alliance between
AUX
SEND 1 (or 2) and STEREO ­RETURN 1 (or 2).
MAIN OUT
They’re just numbers. They’re like two complete strangMONO
ers.
O
L
At the risk of creating another standard, Mackie’s
compact mixers address the need of both crowds by
calling things as they are — 0 dBu (0.775 V) at the
output shows as 0 dB VU on the METERS. What could
be easier? By the way, the most wonderful thing about
standards is that there are so many to choose from.
L
SENDS are outputs, RETURNS are inputs. The channel AUX [30 and 31] knobs tap the signal off the channel
and sends it to the AUX SEND [8] outputs. AUX 1
R
signal is sent to the AUX 1 MASTER [39] knob before
going to the AUX SEND 1 [8] output and the AUX 2
LINE IN 11–12
signal goes directly to the AUX SEND 2 [8] output.
BAL
OR
UNBAL
X
AUX
U
OO
OO
Q
39
+15
U
38
+15
EQ
U
HI
12kHz
z
-15
+15
U
40
41
LEFT RIGHT
0dB=0dBu
20
z
-15
4
LOW
80Hz
-15
2
ALT 3–4
0
+15
N
2
PAN
4
TAPE
7
10
L R
20
11/12
MUTE
ALT 3–4
30
ASSIGN
TO MAIN MIX
PRE FADER
SOLO
U
OO
+12dB
LEVEL
18
RUDE
SOLO
LIGHT
U
OO
MAX
CTL ROOM /SUBMIX
1202-VLZ3
U
OO
+12dB
MAIN MIX
Besides being used to work effects into your mix, Aux
Sends serve another critical role — that of delivering
cue mixes to stage monitors, so musicians can hear what
they’re doing. On the 1202-VLZ3, AUX SEND 1 can play
either role, depending on the position of this switch.
With this switch up (disengaged), AUX SEND 1 will
tap a channel pre-fader (LEVEL) and pre-MUTE/ALT
3-4, meaning that no matter how you manipulate those
controls as they feed the main mix, the AUX SEND will
continue to belt out that channel’s signal. This is the
preferred method for setting up stage monitor feeds. EQ
settings will affect all AUX SENDs.
39. AUX 1 MASTER
7
MAIN MIX
+15
U
38. PRE or POST (AUX 1)
CLIP
10
MID
2.5kHz
So, the original “dry” signals go from the channels to
the main mix and the affected “wet” signals go from the
STEREO RETURN [7] to the main mix, and once mixed
together, the dry and wet signals combine to create a
glorious sound. So, armed with this knowledge, let’s visit
the Auxiliary World:
With the switch down, the AUX SEND 1 ­becomes an
ordinary effects send — post-fader (LEVEL) and postMUTE/ALT 3-4. This is a must for effects sends, since
you want the levels of your “wet” ­signals to follow the
level of the “dry.”
POWER
CONTROL
ROOM
SOURCE
These outputs can be fed to the inputs of a reverb or
other device. From there, the outputs of this external
device are fed back to the mixer’s STEREO RETURN [7]
jacks. Then these signals are sent through the STEREO
RETURN [40] level controls, and ­finally delivered to the
main mix.
LEVEL
SET
This knob provides overall level control of AUX SEND
1, just before it’s delivered to the AUX SEND 1 [8] output. (AUX SEND 2 has no such control.) This knob goes
from off (turned fully down), to unity gain at the center
detent, with 10 dB of extra gain (turned fully up). As
with some other level controls, you may never need the
additional gain, but if you ever do, you’ll be glad you
bought a Mackie.
This is usually the knob you turn up when the lead
singer glares at you, points at his stage monitor, and
sticks his thumb up in the air. (It would follow suit that
if the singer stuck his thumb down, you’d turn the knob
down… but that never happens.)
40. STEREO RETURNS
These two controls set the overall level of ­effects received from STEREO RETURN [7] inputs 1 and 2. These
controls are designed to handle a wide range of signal
levels, from off, to unity gain at the detent, with 20 dB
gain fully ­clockwise, to compensate for low-level effects.
Engage the RETURN TO AUX 1 switch, and now the
STEREO RETURN 2 knob will become an additional
AUX SEND 1 knob for the signal at AUX RETURN 1. Say
that ten times! Once again, AUX RETURN 1 will behave
normally, as always.
Congratulations! You’ve just read about all the features of your 1202-VLZ3. You’re probably ready for a cold
one. Go ahead. The rest of the manual can wait.
Signals passing through these controls will proceed
directly to main mix, with one exception (see paragraph
below). The STEREO RETURNs do not have MUTE/ALT
3-4 switches, so if you want these signals to get to the
ALT 3-4 mix, you’ll have to patch the effects device’s
outputs into one of the stereo channels, and MUTE/ALT
those channels.
Owner’s Manual
Typically, these knobs can just live at the center
detent, and the effects device’s output control should
be set at whatever they call unity gain (check their
manual). If that turns out to be too loud or too quiet,
adjust the effects device’s outputs, not the mixer. That
way, the mixer’s knobs are easy to relocate at the center
detent.
41. RETURN TO AUX 1
If you want to add reverb or delay to the stage monitor
mixes of AUX 1, this is the switch for you.
With the switch up, STEREO RETURN 1 and 2 behave
normally — they deliver their signals into the main mix.
With the switch down, STEREO RETURN 1 still behaves
normally, but STEREO RETURN 2 will feed AUX SEND 1
instead of the main mix.
Still with us? Good. So far, with the switch down, we
have STEREO RETURN 1 feeding the main mix and
STEREO RETURN 2 feeding AUX SEND 1. Now, suppose you only have one effects device, and you want it to
feed both the MAIN MIX and AUX SEND 1. That’s where
“jack normalling” comes in:
JACK NORMALLING
Jack normalling (not to be confused with Jack
Normalling, Chicago Cubs utility infielder, 1952-61, .267
LBA) is a feature found on almost every mixer, keyboard
and effects device. These jacks have special spring-CAUTION
loaded pins that connect to the signal pins, but when
something is plugged into the jack, that ­connectionCONTROL
is
ROOM
L MAIN
broken.
L
R
POWER
ON
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
PHANTOM
ON
MANUFACTURING DATE
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
BALANCED
SERIAL NUMBER
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
ALT
OUTPUT
BAL/UNBAL
BAL/UNBAL
R/4
CHANNEL INSERT
( PRE-FADER / PRE EQ TIP SEND / RING RETURN )
4
L/3
3
2
1
These normalling pins can be used in all sorts of ways.
The ubiquitous phrase “LEFT (MONO)” means that if
you plug a signal into the LEFT side and have nothing in
the RIGHT side, that signal is also fed to the right input,
courtesy of jack normalling. As soon as you plug something in the RIGHT side, that normalled connection is
broken.
MAIN
OUTPUT
LEVEL
How does all this relate to the
MIC 1
MIC 2
MIC 3
RETURN
TO AUX
1 [41]
switch?MIC 4
1
1
STEREO RETURN 1’s inputs are
2
2
normalled to STEREO RETURN 2.
If you have one effects device, plug
AUX SEND
it into STEREO RETURN 1. Plug
nothing
STEREO
RETURN
LINE IN 1 intoLINE
IN 2
LINE
IN 3
LINE2.
IN 4
L
L
Now the signals feeding the STEREO RETURN 1 inputs
will also be sent to the STEREO RETURN 2 inputs.
R
R
R
L /MONO
MIC PR
E
XDR
MIC PR
E
XDR
MIC PR
E
XDR
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
I
U M
60
0
+15dB -45dB
GAIN
U
AUX
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
I
U M
60
0
+15dB -45dB
GAIN
U
AUX
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
I
U M
60
0
+15dB -45dB
GAIN
U
AUX
BAL
OR
UNBAL
BAL
OR
UNBAL
C GAIN
I
U M
60
0
+15dB -45dB
GAIN
U
AUX
LINE IN 5–6
U
L
L
L
R
R
AUX
R
MAIN OUT
BAL
OR
UNBAL
LINE IN 7–8
U
AUX
MONO
MONO
MONO
MONO
LOW CUT
75 Hz
18dB/OCT
-10dBV
BAL /UNBAL
TAPE
TAPE
INPUT OUTPUT
R
L
BAL
OR
UNBAL
ALL BAL/UNBAL
MIC PR
E
XDR
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
LINE IN 9–10
U
AUX
LINE IN 11–12
U
AUX
Owner’s Manual
19
1202-VLZ3
Appendix A: Service Information
If you think your Mackie product has a problem,
please check out the following troubleshooting tips and
do your best to confirm the problem. Visit the Support
section of our website (www.mackie.com/support)
where you will find lots of useful information such as
FAQs, and documentation. You may find the answer to
the problem without having to send your Mackie product away.
Troubleshooting
Bad Channel
• Is the MUTE/ALT 3–4 switch in the correct
position?
• Is the LEVEL knob turned up?
• Try unplugging any INSERT devices (Channels
1–4 only).
• Try the same source signal in another channel,
set up exactly like the suspect channel.
Bad Output
• Is the associated level knob (if any) turned up?
• If it’s one of the MAIN OUTS, try unplugging
all the others. For example, if it’s the 1⁄4"
Left Main out, unplug the RCA and XLR Left
outputs. If the problem goes away, its not the
mixer.
• If it’s a stereo pair, try switching them around.
For example, if a left output is presumed dead,
switch the left and right cords, at the mixer
end. If the problem switches sides, it’s not the
mixer.
Noise
• Turn the channel LEVEL and AUX ­RETURN
knobs down, one by one. If the sound disappears, it’s either that channel or whatever is
plugged into it, so unplug whatever that is. If
the noise disappears, it’s from your whatever.
Power
• Unplug the power cord and check the fuse.
20
1202-VLZ3
Repair
For warranty service, refer to the warranty information on page 27.
Non-warranty service for Mackie products is available at a factory-authorized service center. To locate
your nearest service center, visit www.mackie.com, click
“Support” and select “Locate a Service Center.” Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211,
Monday-Friday, normal business hours, PST, to explain
the problem. Tech Support will tell you where the nearest factory-authorized service center is located in your
area.
“XLR” Connectors
Mackie mixers use 3-pin female “XLR” connectors on
all microphone inputs, with pin 1 wired to the grounded
(earthed) shield, pin 2 wired to the “high” (”hot” or
positive polarity) side of the audio signal and pin 3
wired to the “low” (“cold” or negative polarity) side of
the signal. See Figure A. This is all totally aboveboard
and in full accord with the hallowed standards dictated
by the AES (Audio ­Engineering ­Society).
Use a male “XLR”-type connector, usually found on the
nether end of what is called a “mic cable,” to connect to
a ­female XLR jack.
2
SHIELD
HOT
COLD
SHIELD
COLD 3
HOT
1
3
You can cook up your own adapter for a stereo
microphone adapter. “Y” two cables out of a
female 1⁄4" TRS jack to two male XLR plugs,
one for the Right signal and one for the Left.
• Balanced mono circuits. When wired as a balanced connector, a 1⁄4" TRS jack or plug is connected tip to signal high (hot), ring to signal
low (cold), and sleeve to ground (earth).
• Unbalanced Send/Return circuits. When wired
as a send/return “Y” connector, a 1⁄4" TRS jack
or plug is connected tip to signal send (output
from mixer), ring to signal return (input back
into mixer), and sleeve to ground (earth).
1⁄4"
1
3
TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connections available on a “mono” 1⁄4" phone jack or plug. See Figure C.
1
2
SLEEVE
SLEEVE
TIP
SHIELD
COLD
2
Owner’s Manual
Appendix B: Connections
TIP
TIP
HOT
Figure A: XLR Connectors
SLEEVE
Figure C: TS Plug
1⁄4"
TRS Phone Plugs and Jacks
SLEEVE
SLEEVE
TIP
“TRS” stands for Tip-Ring-Sleeve,
the three
TIP
1
TIP
­connections available on a “stereo” ⁄4" or ­“balanced”
phone jack or plug. See Figure B.
SLEEVE
TRS jacks and plugs are used in several ­­different applications:
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
SLEEVE
• Electric guitars and electronic instruments
• Unbalanced line-level connections
RING SLEEVE
SLEEVE RING TIP
TIP
RING
TIP
SLEEVE
Figure B: 1⁄4" TRS Plugs
• Stereo Headphones, and rarely, stereo microphones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug
is connected tip to left, ring to right and sleeve
to ground (earth). Mackie mixers do not
directly accept 1-plug-type stereo micro­phones.
They must be separated into a left cord and a
right cord, which are plugged into the two mic
preamps.
Switched 1⁄4" Phone Jacks
Switches can be incorporated into 1⁄4" phone jacks,
which are activated by inserting the plug. These switches may open an insert loop in a ­circuit, change the input
routing of the signal or serve other functions. Mackie
uses switches in the channel insert and bus ­insert
jacks, input jacks and stereo returns. We also use these
switches to ground the line-level inputs when nothing is
plugged into them.
In most cases, the plug must be inserted fully to
activate the switch. Mackie takes ­advantage of this in
some circuits, specifying circumstances where you are
to insert the plug only partially. See Special Mackie
­Connections, on the next page.
Owner’s Manual
21
1202-VLZ3
RCA Plugs and Jacks
Special Mackie Connections
RCA-type plugs (also known as phono plugs) and
jacks are often used in home ­stereo and video equipment and in many other applications (Figure D). They
are ­unbalanced and electrically identical to a 1⁄4" TS
phone plug or jack. See Figure C. Connect the signal to
the center post and the ground (earth) or shield to the
surrounding “basket.”
The balanced-to-unbalanced connection has been
anticipated in the wiring of Mackie jacks. A 1⁄4" TS plug
inserted into a 1⁄4" TRS balanced input, for example,
will automatically unbalance the input and make all the
right connections. Conversely, a 1⁄4" TRS plug ­inserted
into a 1⁄4" unbalanced input will automatically tie the
ring (low or cold) to ground (earth).
SLEEVE TIP SLEEVE TIP
Figure D: RCA Plug
Unbalancing a Line
In most studio, stage and sound reinforcement situations, there is a combination of balanced and unbalanced inputs and outputs on the various pieces of
equipment. This usually will not be a problem in making
connections.
• When connecting a balanced output to an
unbalanced input, be sure the signal high (hot)
connections are wired to each other, and that
the balanced signal low (cold) goes to the
ground (earth) connection at the unbalanced
input. In most cases, the balanced ground
(earth) will also be connected to the ground
(earth) at the unbalanced input. If there are
ground-loop problems, this connection may be
left disconnected at the balanced end.
• When connecting an unbalanced output to a
balanced input, be sure that the signal high
(hot) connections are wired to each other. The
unbalanced ground (earth) connection should
be wired to the low (cold) and the ground
(earth) connections of the balanced input. If
there are ground-loop problems, try connecting
the unbalanced ground (earth) connection only
to the input low (cold) connection, and leaving
the input ground (earth) connection disconnected.
• In some cases, you will have to make up special
adapters to interconnect your equipment. For
example, you may need a balanced XLR female
connected to an unbalanced 1⁄4" TS phone
plug.
22
1202-VLZ3
TRS Send/Receive Insert Jacks
Mackie’s single-jack inserts are the three-­conductor,
TRS-type 1⁄4" phone. They are unbalanced, but have
both the mixer output (send) and the mixer input
­(return) signals in one connector. See Figure E.
tip
ring
SEND to processor
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
Figure E
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the ­external unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
Using the Send Only on an Insert Jack
If you insert a TS (mono) 1⁄4" plug only ­partially (to
the first click) into a Mackie ­insert jack, the plug will
not activate the jack switch and will not open the insert
loop in the ­circuit (thereby allowing the channel signal
to continue on its merry way through the mixer).
This allows you to tap out the channel or bus signal
without interrupting normal operation.
If you push the 1⁄4" TS plug in to the second click, you
will open the jack switch and create a ­direct out, which
does interrupt the signal in that channel. See Figure F
on the next page.
NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
A mono signal connected to the RIGHT jack will show
up in the right bus only. You probably will only want to
use this sophisticated effect for special occasions.
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure F
Mults and “Y”s
A mult or “Y” connector allows you to route one output
to two or more inputs by simply providing parallel wiring connections. You can make “Y”s and mults for the
outputs of both unbalanced and ­balanced circuits.
Owner’s Manual
MONO PLUG
A stereo signal, having two plugs, should be patched
into the LEFT (MONO) and the RIGHT input or return
jacks. A jack switch in the RIGHT jack will disable the
mono function, and the ­signals will show up in stereo.
Remember: Only mult or “Y” one output into
several inputs. If you need to combine several
outputs into one input, you must use a mixer,
not a mult or a “Y.”
Mackie Stereo Inputs and Returns: Mono,
Stereo, Whatever
Stereo line inputs and stereo returns are a fine
example of the Mackie philosophy (which we just made
up) of Maximum Flexibility with Minimum Headache.
The inputs and returns will automatically be mono or
­stereo, depending upon how you use the jacks. Here’s
how it works:
A mono signal should be patched into the input or
return jack labeled LEFT (MONO). The signal will be
routed to both the left and right sides of the return circuit, and will show up in the center of the stereo pair of
buses it’s ­assigned to, or it can be panned with the ­PAN
[26] control.
RING (IN)
RING (RETURN)
TIP (OUT)
FROM
PROCESSOR
OUTPUT
RING
(RETURN)
TIP
(SEND)
TO MIXER
CHANNEL INSERT
TO
PROCESSOR
INPUT
TIP (SEND)
Y-cord insert cable
Y-cord splitter cable
Owner’s Manual
23
1202-VLZ3
Appendix C: Technical Information
Specifications
Maximum Levels
Mic in: +22 dBu
Main Mix Noise
Tape in: +16 dBu
All other inputs: +22 dBu
Main Mix XLR out: +28 dBu
All other outputs: +22 dBu
(20 Hz–20 kHz bandwidth, 1/4" Main out, channels 1–4 Trim @
unity gain, channel EQs flat, all channels assigned to Main Mix,
channels 1 and 3 Pan left, 2 and 4 Pan right.)
Main Mix knob down, channel Gain knobs down: –100 dBu
Main Mix knob unity, channel Gain knobs down: –86.5 dBu
(90 dB Signal to Noise Ratio, ref +4 dBu)
Main Mix knob @ unity, channel Gain knobs @ unity: –84.5 dBu
Total Harmonic Distortion (THD)
(1 kHz @ 35 dB gain, 20 Hz–20 kHz bandwidth)
Mic pre @ insert: 0.0007%
Attenuation (Crosstalk)
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth,
Line in, 1⁄4" Main Out, Trim @ unity.)
Impedances
Mic in: 2.5 kilohms
Channel Insert return: 2.5 kilohms
All other inputs: 10 kilohms or greater
Tape out: 1.1 kilohms
All other outputs: 120 ohms
EQ
High Shelving ±15 dB @ 12 kHz
Mid Peaking
±15 dB @ 2.5 kHz
Low Shelving ±15 dB @ 80 Hz
Main Mix knob down: –75 dBu
Channel Alt / Mute switch engaged: –85 dBu
Power Consumption
Channel Gain knob down: –87 dBu
25 watts
Frequency Response
Fuse Rating
(Mic input to any output.)
100-120V:
500 mA slo blo, 5 x 20 mm
250 mA slo blo, 5 x 20 mm
20 Hz to 60 kHz: +0 dB/–1 dB
220-240V:
20 Hz to 100 kHz: +0 dB/–3 dB
Dimensions (H x W x D)
Equivalent Input Noise (EIN)
11.2" x 11.9" x 3.0" (284 mm x 303 mm x 75 mm)
(Mic in to Insert Send out, max gain.)
Weight
150 ohm termination: –129.5 dBu 20 Hz–20 kHz
6.5 lb (3.0 kg)
Common Mode Rejection Ratio (CMRR)
(Mic in to Insert Send out, max gain.)
1 kHz: better than –70 dB
LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
©2006-2009 LOUD Technologies Inc. All Rights Reserved.
24
1202-VLZ3
LINE IN
MIC IN
1
3
2
GAIN
LINE IN R
75Hz
HPF
LO CUT
INSERT
R IN
HI
MID
2K5 12K
LO
80
HI
2K5 12K
80
HI
MID
LO
3-BAND EQ
3-BAND EQ
STEREO RETURN 2
L IN
R IN
MID
80 2K5 12K
LO
STEREO RETURN 1
L IN
(MONO)
MONO CHANNEL
(1 OF 4)
STEREO CHANNEL
(1 OF 4)
LINE IN L
PHANTOM POWER
GAIN
LEVEL
LEVEL
RETURN TO
AUX 1
GAIN
AUX 1
AUX 2
SOLO (PFL)
PAN
MAIN / ALT
AUX
SENDS
MAIN / ALT
SOLO (PFL)
PAN
ALT R
ALT L
MAIN R
MAIN L
Owner’s Manual
ALT
AUX 1
PRE / POST
AUX MIX
ALT OUT R
ALT OUT L
METERING
(0dBu = 0VU)
30dB PAD
AUX SEND 2
AUX 1 LEVEL
AUX SEND 1
PHONES OUT
SOLO
RELAY
CONTROL ROOM &
PHONES MIX
RUDE SOLO LED
SOURCE
SOLO MIX
MAIN
LEVEL
ASSIGN TO MAIN
MAIN
TAPE IN
+6dB
L
TAPE
R
ALT MIX
MAIN MIX
3
2
3
2
TAPE OUT R
LINE OUT R
BAL OUT R
BAL OUT L
CONTROL ROOM OUT
RIGHT
LEFT
CONTROL ROOM &
PHONES LEVEL
20
10
7
4
2
0
2
4
7
10
20
30
1
1
LINE OUT L
TAPE OUT L
Owner’s Manual
Block Diagram
LOGIC
SOLO
AUX SEND 2 POST
AUX SEND 1 POST
AUX SEND 1 PRE
MACKIE 1202-VLZ3
BLOCK DIAGRAM
5/06
25
26
1202-VLZ3
+15
LEVEL
OO
+12dB
LEVEL
OO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
2
1
AUX
+12dB
U
U
SOLO
PRE FADER
SOLO
PRE FADER
MUTE
ALT 3–4
ALT 3–4
MUTE
2
PAN
-15
+15
U
+15
U
U
+15
+15
U
L R
+15
-15
LOW
80Hz
-15
-15
OO
OO
U
1
+15
U
-15
MID
2.5kHz
HI
12kHz
EQ
2
1
AUX
GAIN
60
0
+15dB -45dB
C GAIN
I
U M
LOW CUT
75 Hz
18dB/OCT
-10dBV
LINE IN 2
BAL
OR
UNBAL
MIC 2
MIC PR
E
XD R
L R
+15
U
U
+15
+15
U
-15
OO
OO
U
GAIN
60
0
+15dB -45dB
I
U M
C GAIN
LOW CUT
75 Hz
18dB/OCT
-10dBV
LINE IN 1
BAL
OR
UNBAL
MIC 1
MIC PR
E
XD R
+15
+15
U
+15
U
U
+15
+15
U
MUTE
+12dB
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
2
1
AUX
LEVEL
OO
U
SOLO
PRE FADER
ALT 3–4
3
L R
-15
-15
-15
OO
OO
U
GAIN
60
0
+15dB -45dB
C GAIN
I
U M
LOW CUT
75 Hz
18dB/OCT
-10dBV
LINE IN 3
BAL
OR
UNBAL
MIC 3
MIC PR
E
XD R
+15
+15
U
+15
U
U
+15
+15
U
MUTE
+12dB
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
2
1
AUX
LEVEL
OO
U
SOLO
PRE FADER
ALT 3–4
4
L R
-15
-15
-15
OO
OO
U
GAIN
60
0
+15dB -45dB
C GAIN
I
U M
LOW CUT
75 Hz
18dB/OCT
-10dBV
LINE IN 4
BAL
OR
UNBAL
MIC 4
MIC PR
E
XD R
2
1
R
R
+15
+15
U
+15
U
U
+15
+15
U
MUTE
+12dB
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
2
1
AUX
LEVEL
OO
U
SOLO
PRE FADER
ALT 3–4
5/6
L R
-15
-15
-15
OO
OO
U
+15
+15
U
+15
U
U
+15
+15
U
MUTE
+12dB
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
2
1
AUX
LEVEL
OO
U
SOLO
PRE FADER
ALT 3–4
7/8
L R
-15
-15
-15
OO
OO
U
LINE IN 7– 8
R
R
LINE IN 5–6
L
BAL
OR
UNBAL
L
MONO
AUX SEND
2
1
ALL BAL/UNBAL
BAL
OR
UNBAL
MONO
STEREO RETURN
L /MONO
L /MONO
R
BAL
OR
UNBAL
L
MONO
+15
+15
U
+15
U
U
+15
+15
U
+12dB
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
2
1
AUX
LEVEL
OO
U
SOLO
PRE FADER
ALT 3–4
MUTE
9/10
L R
-15
-15
-15
OO
OO
U
LINE IN 9 –10
R
L
R
L
R
BAL
OR
UNBAL
L
MONO
MAIN OUT
+15
+15
U
+15
U
U
+15
+15
U
U
+12dB
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
2
1
AUX
LEVEL
OO
U
SOLO
PRE FADER
ALT 3–4
MUTE
11/12
L R
-15
-15
-15
OO
OO
L
R
BAL/UNBAL
LINE IN 11–12
TAPE
TAPE
INPUT OUTPUT
OO
MAX
CTL ROOM /SUBMIX
U
ASSIGN
TO MAIN MIX
TAPE
ALT 3–4
MAIN MIX
CONTROL
ROOM
SOURCE
POWER
SESSION:
DATE:
# Cups of Tea:
OO
+12dB
MAIN MIX
U
RUDE
SOLO
LIGHT
30
20
10
7
4
2
0
2
4
7
10
20
0dB=0dBu
LEFT RIGHT
LEVEL
SET
CLIP
1202-VLZ3
Track Sheet
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
Owner’s Manual
Mackie Limited Warranty
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (tollfree in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it
to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Owner’s Manual
27
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]
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