Mackie 1202-VLZ3 User Manual
CA UTI ON
A
SSIGN
TO MAMA
IN MIX
X
LINE IN 1
+15dB-45dB
OO
OO
L R
1
MUTE
ALT 3–4
PRE FADER
SOLO
MIC
D
M
0U60
U
U
U
U
U
R
-
GAIN
+15
+15
+15-15
+15-15
+15-15
1
C
I
I
M
d
0
G
U
1
C
P
R
E
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
B
V
A
I
N
AUX
12kHz
MID
2.5kHz
LOW
80Hz
PAN
1202-VLZ3
12-Channel Mic/Line Mixer
OWNER’S MANUAL
PHANTOM
POWER
ON
ON
L MAIN
MONO
MIC
MIC
2
I
C
M
R
D
X
LINE IN 2
LOW CUT
18dB/OCT
d
B
0
1
-
G
A
C
I
M
0U60
+15dB-45dB
GAIN
U
OO
+15
U
OO
+15
U
EQ
HI
+15-15
U
+15-15
U
+15-15
L R
2
MUTE
ALT 3–4
PRE FADER
SOLO
U
3
I
C
M
P
P
R
R
R
D
E
E
X
BAL
BAL
OR
UNBAL
75 Hz
V
I
N
AUX
12kHz
2.5kHz
PAN
OR
UNBAL
LINE IN 3
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
I
C
N
I
M
0U60
+15dB-4 5dB
GAIN
U
AUX
OO
+15
U
OO
+15
U
EQ
EQ
HI
HI
12kHz
+15-15
U
MID
MID
2.5kHz
+15-15
U
LOW
LOW
80Hz
80Hz
+15-15
PAN
L R
3
MUTE
ALT 3–4
PRE FADER
PRE FADER
SOLO
U
MIC
D
X
+15dB-4 5dB
U
OO
U
OO
U
U
U
L R
4
MUTE
ALT 3–4
SOLO
R
1
-
I
M
0U60
GAIN
+15
+15
+15-15
+15-15
+15-15
M
0
C
I
C
LOW CUT
18dB/OCT
d
B
G
A
U
L /
4
P
R
E
L
BAL
OR
UNBAL
75 Hz
V
I
N
LINE IN 5–6
U
AUX
OO
U
OO
U
EQ
HI
12kHz
U
MID
2.5kHz
U
LOW
80Hz
PAN
L R
5/6
MUTE
ALT 3–4
PRE FADER
SOLO
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
CONTROL
ROOM
BAL/UNBALBALANCED BAL/UNBAL
R
MAIN
OUTPUT
LEVEL
ALL BAL/UNBAL
R
1
R
2
AUX SEND
MONO MONO MONO MONO
L
BAL
OR
UNBAL
UNBAL
R
L
TAPE
INPUT
1
L
2
R
L
BAL
OR
R
WARNING:
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
ALT
OUTPUT
R/4 L/3
TAPE
OUTPUT
L
BAL
OR
UNBAL
R
LINE IN 7–8 LINE IN 9–10 LINE IN 11–12
U
AUX
OO
+15
OO
+15
EQ
HI
12kHz
+15-15
MID
2.5kHz
+15-15
LOW
80Hz
+15-15
PAN
L R
7/8
MUTE
ALT 3–4
PRE FADER
SOLO
U
U
AUX
AUX
OO
+15
U
U
U
U
+15
U
OO
+15
+15
U
EQ
EQ
HI
L R
9/10
MUTE
ALT 3–4
PRE FADER
SOLO
HI
12kHz
+15-15
U
MID
2.5kHz
+15-15
U
LOW
80Hz
+15-15
PAN
11/12
PRE FADER
U
12kHz
+15-15
MID
2.5kHz
+15-15
LOW
80Hz
+15-15
PAN
U
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
(
PRE-FADER / PRE EQ TIP SEND / R ING RETURN
4
BAL/UNBAL
L
L
R
R
MAIN OUT
L
BAL
OR
UNBAL
R
U
AUX
OO
+15
U
OO
+15
U
EQ
HI
12kHz
+15-15
U
MID
2.5kHz
+15-15
U
LOW
80Hz
+15-15
PAN
L R
MUTE
ALT 3–4
SOLO
U
CHANNEL INSERT
3
CONTROL
ROOM
SOURCE
MAIN MIX
ALT 3–4
TAPE
SSIGN
TO
IN M
U
SERIAL NUMBER
POWER
2 1
LEFT RIGHT
MANUFACTURING DATE
)
0dB=0dBu
20
10
7
4
2
0
2
4
LEVEL
7
10
20
30
RUDE
SOLO
LIGHT
U
CLIP
SET
OO
LEVEL
OO
OO
OO
OO
OO
OO
+12dB
+12dB
+12dB
+12dB
+12dB
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
+12dB
LEVEL
OO
+12dB
+12dB
LEVEL
OO
MAX
/SUBMIXCTL ROOM
OO
+12dB
MAIN MIX
Important Safety Instructions
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
1202-VLZ3
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifi ers) 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 fi t into your outlet, consult an electrician for
replacement of the obsolete outlet.
10.
Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11.
Only use attachments/accessories specifi ed by the manufacturer.
12.
Use only with a cart, stand, tripod, bracket, or table specifi ed 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.
PORTABLE CART WARNING
Carts and stands - The
Component should be used
only with a cart or stand
that is recommended by
the manufacturer.
A Component and cart
combination should be
moved with care. Quick
stops, excessive force, and
uneven surfaces may cause
the Component and cart
combination to overturn.
13.
Unplug this apparatus during lightning storms or when unused for long
periods of time.
14.
Refer all servicing to qualifi ed service personnel. Servicing is required
when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15.
This apparatus shall not be exposed to dripping or splashing, and no
object fi lled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
16.
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).
17.
This apparatus has been equipped with an all-pole, rocker-style AC
mains power switch. This switch is located on the rear panel and
should remain readily accessible to the user.
18. This apparatus does not exceed the Class A/Class B (whichever is
applicable)
set out in the radio interference regulations of the Canadian Department
limits for radio noise emissions from digital apparatus as
of Com mu ni ca tions.
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 com mu ni ca tions du Canada.
19.
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
suffi ciently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specifi ed
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.
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
2
1202-VLZ3
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.
Duration Per Day Sound Level dBA, Typical
In Hours Slow Response Example
8 90 Duo in small club
6 92
4 95 Subway Train
3 97
2 100 Very loud classical music
1.5 102
1 105 Dave screaming at Steve about deadlines
0.5 110
0.25 or less 115 Loudest parts at a rock concert
WARNING — To reduce the risk of fi re or
electric shock, do not expose this apparatus
to rain or moisture.
Read This Page!
We realize that you must be dying 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.
Owner’s Manual
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 amplifi er or powered speakers fi rst. 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.
Adjusting input levels (Chs. 1–4 only)
On the fi rst 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:
1. Turn the GAIN, LEVEL and AUX send knobs
fully down (counterclockwise).
2. Set the EQ knobs at the center detent.
3. Connect the signal source to the input.
4. Engage (push in) the SOLO switch.
5. Play something into the selected input. This
could be an instrument, a singing or speaking
voice, or a line input such as a CD player or
tape recorder output. Be sure that the volume
of the input is the same as it would be during
normal use. If it isn’t, you might have to readjust these levels during the middle of the set.
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 amplifi er.
5. Hook up speakers to the amp and turn it on.
6. Turn up the 1202-VLZ3’s channel 1 LEVEL knob
to the center detent and the MAIN MIX knob
one quarter of the way up.
7. Sing like a canary!
8. Plug your keyboard into stereo channel 5-6.
9. Turn that channel’s LEVEL knob to the center
detent.
10. Play like a madman and sing like a canary!
It’s your fi rst mix!
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
6. Adjust the channel’s GAIN control so that the
display on the right LED meter stays around “0”
and never goes higher than “+7.”
7. If you’d like to apply some EQ, do so now and
return to step 6.
8. Disengage that channel’s SOLO switch.
9. Repeat for each of channels 1 through 4.
Part No. 0019814 Rev. A
©2006 LOUD Technologies Inc. All Rights Reserved.
(Only trained professional union stunt hamsters were used to staple this manual.)
Purchased at:
Date of purchase:
Owner’s Manual
3
Introduction
Thank you for choosing a Mackie professional compact mixer. The 1202-VLZ3 is equipped with our precision-engineered XDR
premium studio-grade mic preamp.
1202-VLZ3
Now that you have your 1202-VLZ3, fi nd out how to get
the most from it. That’s where this manual comes in.
TM
Extended Dynamic Range
How To Use This Manual
Since many of you folks will want to hook up your
1202-VLZ3 immediately, the fi rst 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 fi rst three sections, just as
your mixer is organized into three distinct zones:
Patchbay: The patchbay along the top and back,
where you connect things.
Channel Strip: The eight channel strips where you
adjust each channel.
Output Section: The output section on the right.
Throughout these sections you’ll fi nd 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 fi nd that number
in the nearby paragraphs.
This icon marks infor mation that is critically
important or unique to the 1202-VLZ3. For your
own good, read them and remember them. They
will be on the fi nal test.
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.
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 specifi cations, and
a block diagram showing the internal signal path and
general goings-on within the mixer.
Need help with your new mixer?
• Visit www.mackie.com and click Support to fi nd:
FAQs (Frequently Asked Questions), manuals, addendums, and
user forums.
• Email us at: techmail@mackie.com.
• Telephone 1-800-898-3211 to speak with one of our splendid
technical support representatives, (Monday through Friday,
from 7 a.m. to 5 p.m. PST).
4
1202-VLZ3
Contents
Owner’s Manual
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
1
⁄4" MAIN OUTS ..................................... 10
11.
12. PHONES ................................................ 11
13. XLR MAIN OUTS ................................... 11
14. XLR MAIN OUTPUT LEVEL SWITCH .......... 11
15. CONTROL ROOM .................................... 11
16. ALT 3–4 OUTPUT ................................... 11
17. CHANNEL INSERT (Channels 1–4 ) ........... 11
18. POWER CONNECTION ............................. 12
19. FUSE ...................................................... 12
20. VOLTAGE SELECTOR ................................ 12
21. POWER SWITCH ..................................... 12
22. PHANTOM SWITCH ................................ 12
Channel Strip Description ....................................... 13
“U” LIKE UNITY GAIN ............................. 13
23. LEVEL ...................................................... 13
24. PRE-FADER SOLO ................................... 13
25. MUTE/ALT 3–4 ...................................... 13
26. PAN ....................................................... 14
CONSTANT LOUDNESS ! ! ! ...................... 14
3-BAND EQ ............................................ 14
27. LOW EQ ................................................. 14
28. MID EQ .................................................. 14
29. HI EQ ..................................................... 15
MODERATION DURING EQ ...................... 15
30. AUX 2 SEND .......................................... 15
31. AUX 1 SEND .......................................... 15
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
Specifi cations .................................................. 24
Block Diagram................................................. 25
Track Sheet ..................................................... 26
1202-VLZ3 Limited Warranty ................................ 27
Owner’s Manual
5
Hookup Diagrams
1202-VLZ3
Vocal Mics
Direct
Boxes
Stereo Guitar Effects
Drum
(record)
Machine
In
Out
(play)
Keyboard or other
line level input
Tape Player
1
2
3
4
L
5
MONO
R
6
L
7
MONO
R
8
L
9
MONO
R
10
L
11
MONO
R
12
R
L
L
R
1
2
3
4
CHANNEL
INPUTS
AUX
ALT 3-4
IN-TAPE-OUT
MAIN
PHONES
OUT
1
2
3
4
CHANNEL INSERTSSTEREO RETURNS
L
1
R
L
2
R
1
SEND
2
L
OUT
R
L
OUT
R
In
Out
In
Out
In
Out
Digital Delay
Mono Compressor
Stereo Compressor
Multi Effect
Processor
Powered
Studio Monitors
CONTROL RM
OUTPUTS
OUT
MAIN
Headphone Distribution Amp
Headphones
for Studio
Powered
Studio Monitors
for Studio
Recording System
6
1202-VLZ3
Owner’s Manual
Guitar dad
bought you
for your
birthday
Vocal Mics
Stereo Guitar Effects
Drum
Machine
Keyboard or other
line level input
Tape Player
Out
(play)
Bass Guitar
Direct
Boxes
Way-cooler
Guitar dad bought
your kid brother
for his
birthday
1
1
2
2
3
3
4
4
L
CHANNEL
5
MONO
R
6
L
7
MONO
INPUTS
R
8
L
9
MONO
R
10
11
12
L
L
L
MONO
R
IN-TAPE-OUT
R
R
PHONES
OUT
AUX
ALT 3/4
MAIN
1
2
3
4
CHANNEL INSERTSSTEREO RETURNS
L
1
R
L
2
R
1
SEND
2
L
OUT
R
L
OUT
R
Mono EQ
Mono Compressor
In
Out
In
Stereo Compressor
Out
In
Out
Multi Effect
Processor
Mono Power
Amplifier
Stage Monitors
In
(record)
Headphones
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.
CNTRL ROOM
OUTPUTS
MAIN
OUT
SRM450
Po w e r e d
Speaker
SWA1501
Po w e r e d
Subwoofer
Stereo
EQ
SRM450
Po w e r e d
Speaker
SWA1501
Po w e r e d
Subwoofer
Live Stereo PA System
Owner’s Manual
7
Patchbay Description
CA UTIO N
X
MIC
D
I
C
M
P
R
R
E
I
M
R
D
X
MIC
1
MIC
2
C
P
R
E
I
M
R
D
X
MIC
3
C
P
R
D
E
X
L /
4
I
C
M
P
R
R
E
1
1202-VLZ3
2
3
4
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level instruments
and effects, headphones, and the ultimate destination
for your sound: a tape recorder, PA system, etc.
See Appendix B for further details and drawings of
the connectors you can use with the 1202-VLZ3. Also see
the Channel Strip description on page 13 for details of
the signal routing from the XLR and Line inputs.
1. MIC INPUTS (Channels 1–4)
We use phantom-powered, balanced microphone
inputs just like the big studio mega-consoles, for exactly
the same reason: This kind of circuit is excellent at rejecting hum and noise. You can plug in almost any kind
of mic that has a standard XLR male mic connector.
Professional ribbon, dynamic, and condenser mics
will all sound excellent through these inputs. The
1202-VLZ3’s mic inputs will handle any kind of mic level
you can toss at them, without overloading. Be sure to
perform the Level-Setting Procedure on page 3.
Not every instrument is made to connect directly to a
mixer. Guitars commonly need a Direct Injection (DI)
box to connect to the mixer's MIC inputs. These boxes
convert unbalanced line-level signals from your guitar,
into balanced mic-level outputs, and provide signal and
impedance matching. They also let you send your gifted
guitar renditions over long cables or audio snakes, with
minimum interference and high-frequency signal loss.
Ask your dealer or guitar maker about their recommendations for a good DI box.
LINE IN 1
M
0U60
+15dB- 45dB
0
1
-
C
I
GAIN
UNBAL
LOW CUT
75 Hz
18dB/OCT
d
B
V
G
A
I
N
BAL
OR
LINE IN 2
M
0U60
+15dB- 45dB
1
-
C
I
GAIN
LOW CUT
18dB/OCT
d
B
0
G
A
V
I
N
BAL
OR
UNBAL
75 Hz
LINE IN 3
-
M
0U60
+15dB- 45dB
GAIN
0
1
C
I
LOW CUT
18dB/OCT
d
B
V
G
A
I
N
BAL
OR
UNBAL
75 Hz
LINE IN 4
M
0U60
+15dB- 45dB
1
-
C
I
GAIN
LOW CUT
18dB/OCT
d
B
0
G
A
V
I
N
BAL
OR
UNBAL
75 Hz
LINE IN 5–6
MONO
1
R
L
2
AUX SEND
MONO MONO MONO MONO
L
BAL
OR
UNBAL
5 5 5 5
R
LINE IN 7–8 LINE IN 9–10 LINE IN 11–12
BAL
OR
UNBAL
TAPE
TAPE
INPUT
1
2
L
R
OUTPUT
L
R
L
BAL
OR
UNBAL
R
ALL BAL/UNBAL
R
The 1202-VLZ3’s phantom power is globally controlled
by the PHANTOM [22] switch on the rear panel. (This
means the phantom power for channels 1-4 is turned on
and off together.)
Never plug single-ended (unbalanced)
micro phones or instruments into the MIC [1]
input jacks if the phantom power is on.
Do not plug instrument outputs into the
MIC input jacks with phantom power on,
unless you know for certain it is safe to do so.
2. LINE INPUTS (Channels 1–4)
These four line-inputs share circuitry (but not phantom power) with the mic preamps, and can be driven
by balanced or unbalanced sources at almost any level.
You can use these inputs for virtually any signal you’ll
come across, from instrument levels as low as –40 dB to
operating levels of –10 dBV to +4 dBu, since there is 40
dB more gain available than on channels 5–12.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, the type found on stereo
headphones.
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug or standard instrument
cable.
The LINE IN inputs 1–4 are a good place to connect
older instruments that need more gain. You can correct
weak levels by adjusting the corresponding channel’s
GAIN control.
BAL/UNBAL
L
R
MAIN OUT
BAL
UNBAL
L
R
L
OR
R
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.
8
1202-VLZ3
3. LOW CUT (Channels 1–4)
CA UTIO N
d
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, bassy
synth patches, or recordings of earthquakes. These
aside, there isn’t much down there that you want to
hear, and fi ltering it out makes the low stuff you do want
much more crisp and tasty. Not only that, but low-cut
can help reduce the possibility of feedback in live situations, and it helps to conserve amplifi er power.
5. STEREO LINE INPUTS
Owner’s Manual
(Channels 5–6, 7–8, 9–10 and 11–12)
These fully balanced inputs are designed for stereo or
mono, balanced or unbalanced signals, from –10 dBV to
+4 dBu. They can be used with just about any professional or semi-pro instrument, effect or tape player.
In the stereo audio world, an odd-numbered channel usually receives the “left signal.” For example, you
would feed the 1202-VLZ3’s line inputs 5-6 a stereo
signal by inserting the device’s left output plug into the
channel 5 jack, and its right output plug into the channel 6 jack.
Another way to consider low-cut’s function is that it
actually adds fl exibility during live performances. With
the addition of low-cut, you can safely use low equalization on vocals. Many times, bass shelving EQ can really
benefi t 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
+10
+5
0
–5
–10
–15
20Hz100
Low Cut
Hz
1k
Hz
+15
+10
+5
0
–5
–10
–15
20Hz100
10kHz20k
Hz
Low Cut with Low EQ
Hz
1k
Hz
10kHz20k
Hz
4. GAIN (Channels 1–4)
If you haven’t already, please read the Level-Setting
Procedure on page 3.
GAIN adjusts the input sensitivity of the mic and line
inputs connected to channels 1 through 4. This allows
signals from the outside world to be adjusted to optimal
internal operating levels.
B
0
V
1
-
G
A
I
C
N
I
M
0U60
+15dB -45dB
GAIN
dB of attenuation fully down and 45 dB of gain fully
up, with a “U” (unity gain) mark at 10:00. This 15 dB of
attenuation can be very handy when you are inserting
a very hot signal, or when you want to add a lot of EQ
gain, or both. Without this “virtual pad,” this scenario
might lead to channel clipping.
If the signal originates through the
XLR jack, there will be 0 dB of gain with
the knob fully down, ramping to 60 dB
of gain fully up.
Through the 1⁄4" input, there is 15
When connecting a mono device (just one cord),
always use the LEFT (MONO) input (jacks 5, 7, 9 or 11)
and plug nothing into the RIGHT input (jacks 6, 8, 10 or
12)— this way the signal will appear on both sides. This
trick is called “jack normalling.”
6. IMAGINARY CONTROL
This control is purely a fi gment of our imagination. It
will come in handy after long hours of mixing, when you
really would like a nice cup of tea, a vacation in Hawaii,
or a trip to the outer reaches of the Solar System. This
is the control for you. Be thankful, you bought a Mackie.
We love you man!
EFFECTS: SERIAL OR PARALLEL?
The next two sections toss the terms “serial” and
“parallel” around like hacky sacks. Here’s what we mean
by them:
“Serial” means that the entire signal is routed through
the effects device. Examples: compressor/limiters,
graphic equalizers. Line-level sources can be patched
through a serial effects device before or after the mixer,
or preferably through the insert jacks located on the
rear panel (CHANNEL INSERT [17] send/return).
Insert
Send
Signal Processor
Dry Signal
(e.g., Compressor)
“Parallel” means that a portion of the signal in the
mixer is tapped off to the device (AUX SEND), processed and returned to the mixer (STEREO RETURN)
to be mixed with the original “dry” signal. This way,
multiple channels can all make use of the same effects
device. Examples: reverb, digital delay.
Aux
Send
Signal Processor
(e.g., Reverb)
Insert
Return
Aux
Return
Wet Signal
Output
Section
Processed
Signal
Mix
Processed
Channel Path
Dry Signal(s)
Dry Signal(s)
Stage
Owner’s Manual
Signal
9
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