mackie 1202 vlz pro manual
TRANSCRIPT
1202-VLZ PRO12-CHANNELMIC/LINE MIXEROWNER’S MANUAL
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HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
1
2
POWER
AUX 1 MASTER
AUXRETURN
1
2
LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 L
MONO
L
MONO
L
MONO
L
MONO
PHONESLINE IN 5-6
R R R R
AUX SENDTAPEINPUT
TAPEOUTPUT
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1
2
1
2
RIGHT
L
R
RIGHT
MIC 1 MIC 2 MIC 3 MIC 4
LEFT
LEFT/MONO
STEREO AUX RETURN MAIN OUT
BAL/UNBAL
LINE IN 7-8 LINE IN 9-10 LINE IN 11-12
GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN MAIN MIX/SUBMIX
ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
ALL BAL/UNBAL
EFX TOMONITOR
MON/EFX
1MON/EFX
1MON/EFX
1MON/EFX
1MON/EFX
1MON/EFX
1MON/EFX
1MON/EFX
EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
NORMALLED
PREPOST
AUX 1SELECT
CTL ROOM
11 12MUTE
9 10MUTE
7 8MUTE
5 6MUTE
4MUTE
3MUTE
2MUTE
1MUTE
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LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
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LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
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LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
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LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
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RUDESOLOLIGHT
LEVELSET
CONTROLROOM
SOURCE
ALT 3–4
TAPE
MAIN MIX
CLIP
LEFT RIGHT0dB=0dBu
ASSIGNTO MAIN MIX
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1202-VLZPRO12-CHANNEL MIC/LINE MIXER
WITH PREMIUM XDRTM MIC PREAMPLIFIERS
XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
POWERON
PHANTOMON
MAINLEFT
MAINOUTPUTLEVEL
MAINRIGHT
4 3R/4 L/3 2 1
CHANNEL INSERTSBAL/UNBALBALANCED BALANCED BAL/UNBAL
120 VAC 50/60 Hz 25W500mA/250V SLO-BLO
( PRE-FADER / PRE EQ TIP SEND / RING RETURN )
ALTOUTPUT
R L
CONTROLROOM
TO REDUCE THE RISK OFFIRE REPLACE WITH SAME
TYPE .5A-250V FUSE
CAUTION:
MIC+4
SERIAL NUMBER MANUFACTURING DATE
RISK OF ELECTRIC SHOCKDO NOT OPEN
REPLACE WITH THE SAME TYPE FUSE AND RATING.DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
CAUTION
AVIS: RISCQUE DE CHOC ÉLECTRIQUE — NE PAS OUVRIR
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USACOPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS
OF MACKIE DESIGN INC.: "MACKIE", "VLZ","XDR" AND THE "RUNNING MAN" FIGURE • PATENT PENDING
1202-VLZPRO12-CHANNEL MIC/LINE MIXER
WITH PREMIUM XDRTM MIC PREAMPLIFIERS
2
CAUTION AVISRISK OF ELECTRIC SHOCK
DO NOT OPENRISQUE DE CHOC ELECTRIQUE
NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCKDO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDEREFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOCELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN
ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIERL'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OUD'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 club6 924 95 Subway Train3 972 100 Very loud classical music
1.5 1021 105 Tami screaming at Adrian about deadlines
0.5 110 0.25 or less 115 Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock,do not expose this appliance to rain or moisture.
12. Damage Requiring Service — This Mackie product should be servicedonly by qualified service personnel when:
A. The power-supply cord or the plug has been damaged; or
B. Objects have fallen, or liquid has spilled into this Mackieproduct; or
C. This Mackie product has been exposed to rain; or
D. This Mackie product does not appear to operate normally orexhibits a marked change in performance; or
E. This Mackie product has been dropped, or its chassis damaged.
13. Servicing — The user should not attempt to service this Mackie productbeyond those means described in this operating manual. All other servicingshould be referred to the Mackie Service Department.
14. To prevent electric shock, do not use this polarized plug with anextension cord, receptacle or other outlet unless the blades can be fullyinserted to prevent blade exposure.
Pour prévenir les chocs électriques ne pas utiliser cette fiche polariseé avec unprolongateur, un prise de courant ou une autre sortie de courant, sauf si leslames peuvent être insérées à fond sans laisser aucune pariie à découvert.
15. Grounding or Polarization — Precautions should be taken so that thegrounding or polarization means of this Mackie product is not defeated.
16. Power Precautions — Unplug this Mackie product during lightning stormsor when unused for long periods of time. Note that this Mackie product is notcompletely disconnected from the AC mains service when the power switch isin the OFF position.
17. This apparatus does not exceed the Class A/Class B (whichever isapplicable) limits for radio noise emissions from digital apparatus as set out in theradio interference regulations of the Canadian Department of Communications.
ATTENTION —Le présent appareil numérique n’émet pas de bruitsradioélectriques dépassant las limites applicables aux appareils numériques declass A/de class B (selon le cas) prescrites dans le règlement sur le brouillageradioélectrique édicté par les ministere des communications du Canada.
18. Exposure to extremely high noise levels may cause permanent hearingloss. Individuals vary considerably in susceptibility to noise-induced hearing loss,but nearly everyone will lose some hearing if exposed to sufficiently intensenoise for a period of time. The U.S. Government’s Occupational Safety andHealth Administration (OSHA) has specified the permissible noise level exposuresshown in the following chart.
According to OSHA, any exposure in excess of these permissible limits couldresult in some hearing loss. To ensure against potentially dangerous exposure tohigh sound pressure levels, it is recommended that all persons exposed to equip-ment capable of producing high sound pressure levels use hearing protectorswhile the equipment is in operation. Ear plugs or protectors in the ear canals orover the ears must be worn when operating the equipment in order to preventa permanent hearing loss if exposure is in excess of the limits set forth here.
SAFETY INSTRUCTIONS1. Read Instructions — All the safety and operation instructions should beread before this Mackie product is operated.
2. Retain Instructions — The safety and operating instructions should be keptfor future reference.
3. Heed Warnings — All warnings on this Mackie product and in these operatinginstructions should be followed.
4. Follow Instructions — All operating and other instructions should befollowed.
5. Water and Moisture — This Mackie product should not be used near water– for example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wetbasement, near a swimming pool, swamp or salivating St. Bernard dog, etc.
6. Cleaning — Clean only with a dry cloth.
7. Ventilation — This Mackie product should be situated so that itslocation or position does not interfere with its proper ventilation. Forexample, the Component should not be situated on a bed, sofa, rug, orsimilar surface that may block any ventilation openings, or placed in abuilt-in installation such as a bookcase or cabinet that may impede theflow of air through ventilation openings.
8. Heat — This Mackie product should be situated away from heat sourcessuch as radiators, or other devices which produce heat.
9. Power Sources — This Mackie product should be connected to a powersupply only of the type described in these operation instructions or as markedon this Mackie product.
10. Power Cord Protection — Power supply cords should be routed so thatthey are not likely to be walked upon or pinched by items placed upon oragainst them, paying particular attention to cords at plugs, conveniencereceptacles, and the point where they exit this Mackie product.
11. Object and Liquid Entry — Care should be taken so that objects do notfall on, and liquids are not spilled into, this Mackie product.
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Part No. 0006980-90 Rev. A1 6/03©2003 Mackie Designs Inc. All Rights Reserved.
We realize that you must be dying to try outyour new 1202-VLZ PRO. Or you might be one ofthose people who never read manuals. Eitherway, 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.
Other Nuggets of WisdomFor optimum sonic performance, the channel
GAIN knobs and the MAIN MIX knob should beset near the “U” (unity gain) markings.
Always turn the MAIN MIX and CONTROLROOM/SUBMIX level controls down beforemaking connections to and from your1202-VLZ PRO.
If you shut down your equipment, turn offyour amplifier(s) first. When powering up, turnon your amplifier(s) last.
Save the shipping box! You may need itsomeday, and you don’t want to have to pay foranother one.
INSTANT MIXINGHere’s how to get going
right away, assuming you own amicrophone and a keyboard:
1. Plug your microphone into channel 1’s MICinput.
2. Turn on the 1202-VLZ PRO.
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-VLZ PRO’s channel 1 GAIN
knob to the center detent and the MAIN MIXknob 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 GAIN knob to the center
detent.10. Play like a madman and sing like a canary!
It’s your first mix!
READ THIS PAGE!!!
Please write your serial number here forfuture reference (i.e. insurance claims,tech support, return authorization, etc.):
LEVEL-SETTING PROCEDUREMessage to seasoned pros: do not set
levels using the old “Turn the trim up untilthe clip light comes on, then back off ahair” trick. When a Mackie Designs mixerclip light comes on, you really are about toclip. We worked and slaved to come upwith a better system, one that provides lownoise 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 setoptimal levels. But if you’d like to: Plugheadphones into the PHONES jack, thenset the CONTROL ROOM/SUBMIX knobabout one-quarter of the way up.
The following steps must be performedone channel at a time:
1. Turn the TRIM, GAIN and AUX sendknobs 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 singingor speaking voice, or a line input suchas a CD player or tape recorder output.Be sure that the volume of the input isthe same as it would be during normaluse. If it isn’t, you might have toreadjust these levels during the middleof the set.
6. Adjust the channel’s TRIM control sothat the display on the right LEDmeter stays around “0” and never goeshigher than “+7.”
7. If you’d like to apply some EQ, do so nowand return to step 6.
8. Disengage that channel’s SOLO switch.9. Repeat for each of channels 1
through 4.
Purchased at:
Date of Purchase:
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11 12MUTE
9 10MUTE
7 8MUTE
5 6MUTE
4MUTE
3MUTE
2MUTE
1MUTE
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
PRE FADERSOLO
1
2
POWER
AUX 1 MASTER
AUXRETURN
1
2
LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 L
MONO
L
MONO
L
MONO
L
MONO
PHONESLINE IN 5-6
R R R R
AUX SENDTAPEINPUT
TAPEOUTPUT
L
R
1
2
1
2
RIGHT
L
R
RIGHT
MIC 1 MIC 2 MIC 3 MIC 4
LEFT
LEFT/MONO
STEREO AUX RETURN MAIN OUT
BAL/UNBAL
LINE IN 7-8 LINE IN 9-10 LINE IN 11-12
GAIN GAIN GAIN GAIN GAIN GAIN GAIN GAIN MAIN MIX/SUBMIX
ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
ALL BAL/UNBAL
EFX TOMONITOR
MON/EFX
1MON/EFX
1MON/EFX
1MON/EFX
1MON/EFX
1MON/EFX
1MON/EFX
1MON/EFX
EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
2EFX
NORMALLED
PREPOST
AUX 1SELECT
CTL ROOM
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LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
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-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
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-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
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-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
RUDESOLOLIGHT
LEVELSET
CONTROLROOM
SOURCE
ALT 3–4
TAPE
MAIN MIX
CLIP
LEFT RIGHT0dB=0dBu
ASSIGNTO MAIN MIX
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XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
OUTPUTSECTION
CHANNEL STRIPS
PATCHBAY
INTRODUCTIONThank you for choosing a Mackie Designs
professional compact mixer. The 1202-VLZ PROis equipped with our new precision-engineeredXDRTM Extended Dynamic Range premiumstudio-grade mic preamp featuring:
• Full gain range from 0 to 60dB• +22 dBu line signal handling capability• 130 dB dynamic range• Distortion less than 0.0007%, 20Hz to 20kHz• Bullet-proof RF rejection using DC pulse
transformer circuitryNow that you have your 1202-VLZ PRO, find
out how to get the most from it. That’s wherethis manual comes in.
HOW TO USE THIS MANUALSince many of you folks will want to hook up
your 1202-VLZ PRO immediately, the first pagesyou will encounter after the table of contentsare the ever popular hookup diagrams. Theseshow typical mixer setups for Record/Mixdown,Video, Disc Jockey and Stereo PA. After thissection is a detailed tour of the entire mixer.
Every feature of the 1202-VLZ PRO is described“geographically;” in other words, in order of whereit is physically placed on the mixer’s top or rearpanel. These descriptions are divided into the firstthree manual chapters, just as your mixer isorganized into three distinct zones:1. PATCHBAY: The patchbay along the top
and back.2. CHANNEL STRIP: The eight channel
strips on the left.3. OUTPUT SECTION: The output section on
the right.
Throughout these chapters you’ll find illus-trations, with each feature numbered. If you’recurious about a feature, simply locate it on theappropriate illustration, notice the numberattached to it, and find that number in thenearby paragraphs.
You’ll also find cross-references to thesenumbered features within a paragraph. For in-stance, if you see “To wire your own cables:
,” simply find that number in the manualand you’ve found your answer.
Finally, you’ll notice feature numbers likethis: . These numbers direct you to relevantinformation.
This icon marks infor-mation that is criticallyimportant or unique to the1202-VLZ PRO. For yourown good, read them and re-
member them. They will be on the final test.
This icon will lead you toin-depth explanations offeatures and practical tips.While not mandatory, theyusually have some valuablenugget of information.
A PLUG FOR THE CONNECTORS SECTIONAppendix is a section on connectors:
XLR connectors, balanced connectors, unbal-anced connectors, special hybrid connectors.
More resources on our website @www.mackie.com
THE GLOSSARY: A Haven of Non-Techiness ForThe Neophyte
The "Glossary of Terms" is a fairly compre-hensive dictionary of pro-audio terms. If termslike “clipping,” “noise floor,” or “unbalanced”leave you blank, refer to this glossary for aquick explanation.
ARCANE MYSTERIES ILLUMINATED
"Arcane Mysteries" discusses some of thedown ’n’ dirty practical realities ofmicrophones, fixed installations, grounding,and balanced versus unbalanced lines. It’s agoldmine for the neophyte and even the sea-soned pro might learn a thing or two.
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CONTENTSLEVEL-SETTING PROCEDURE ..................................... 3
HOOKUP DIAGRAMS .............................................. 6
1202-VLZ PRO PATCHBAY DESCRIPTION ............ 10
MIC INPUTS ................................................... 10
PHANTOM POWER ........................................ 10
LINE INPUTS .................................................. 10
LOW CUT ....................................................... 11
TRIM ............................................................. 11
STEREO LINE INPUTS ...................................... 12
EFFECTS: SERIAL OR PARALLEL? ..................... 12
CHANNEL INSERT .......................................... 13
AUX RETURNS ............................................... 13
TAPE INPUT ................................................... 14
XLR MAIN OUTS ............................................ 14
XLR MAIN OUTPUT LEVEL SWITCH ................. 151⁄4" MAIN OUTS ............................................. 15
TAPE OUTPUT ................................................ 15
PHONES ......................................................... 16
ALT 3–4 OUTPUT .......................................... 16
CONTROL ROOM ............................................ 16
AUX SEND 1 & 2 ............................................ 16
POWER CONNECTION .................................... 17
FUSE .............................................................. 17
POWER SWITCH ............................................ 17
PHANTOM SWITCH ........................................ 17
CHANNEL STRIP DESCRIPTION .............................. 18
“U” LIKE UNITY GAIN .................................... 18
GAIN ............................................................. 18
PRE-FADER SOLO ........................................... 18
MUTE/ALT 3-4 ............................................... 18
PAN ............................................................... 19
CONSTANT LOUDNESS ! ! ! .............................. 19
3-BAND EQ .................................................... 19
AUX SEND ..................................................... 20
OUTPUT SECTION DESCRIPTION ............................ 21
MAIN MIX ..................................................... 21
VLZ MIX ARCHITECTURE ................................ 21
SOURCE MATRIX ............................................ 21
CONTROL ROOM / SUBMIX .......................... 22
PRE-FADER SOLO (PFL) .................................. 22
RUDE SOLO LIGHT .......................................... 23
ASSIGN TO MAIN MIX ................................... 23
METERS ......................................................... 23
AUX TALK ...................................................... 24
AUX 1 PRE/POST SELECT ............................... 24
AUX 1 MASTER .............................................. 24
AUX RETURNS ............................................... 25
EFX TO MONITOR .......................................... 25
JACK NORMALLING ....................................... 25
MODIFICATIONS ................................................ 25
1202-VLZ PRO BLOCK DIAGRAM ....................... 26
GAIN STRUCTURE DIAGRAM ................................. 27
SPECIFICATIONS .................................................... 28
SERVICE INFO ....................................................... 29
APPENDIX A: CONNECTIONS ...................................... 30
TRACK SHEET ............................................................. 33
COLOPHON ................................................................ 34
1202-VLZ PRO LIMITED WARRANTY ....................... 35
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HOOKUP DIAGRAMS
1202-VLZ PRO 4-Tk Record/2-Tk Mix
Power Amplifier
Studio Monitors
3
4
2
12
11
10
9
8
7
4
3
2
1 1
1
2
L
R
L
R
L
R
CHAN
NEL
INSE
RTS
AUX
RETU
RNS
ALT
3/4
OUT
PHONESOUT
INPUTS
L MONO
R
R
R
R
L MONO
L MONO
L MONO
AUX
OUT
L
5
1
2
6
CHANNEL
R
L R
IN-TAPE-OUT
MAI
NOU
T
CNTRL ROOMOUTPUTS
MAI
NOU
T
L
R
Mono in / stereo outReverb
Digital Delay
out(play)
in(record)
Keyboard or other line-level input
4-track Recorder
in (record)out (play)
in
inout
out
IMPORTANT:ALL Channel Insertplugs are insertedto the SECOND click.
Mono Processorout
in
Guitar Effects
2-track Mixdown Deck2-track Mixdown Deck2-track Mixdown Deck
CH
1CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
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1202-VLZ PRO Video Setup
Power Amplifier
Compressor
Multi Effect Processor
in
in
L
R
L
R
L
R
L
LR
R
L
R
V/O Mic
Audio out
Audio out
Audio out out
out
Video Deck #3
Master Video Deck
Video Deck #2
Video Deck #1
Mackie Designs: Video Setupscene #1 _ 23:94:10 Time Base
*Note: Aux Return #2 can be used as anextra stereo input
Multi - VCR Video Switcherwith time code interface(optional)
Keyboard or other line-level input
outin
3
4
2
12
11
10
9
8
7
4
3
2
1 11
1
2
L
R
L
R
L
R
CHAN
NEL
INSE
RTS
AUX
RETU
RNS
ALT
3/4
OUT
PHONESOUT
INPUTSL
MONO
R
R
R
R
L MONO
L MONO
L MONO
AUX
OUT
L
5
1
2
6
CHANNEL
R
L R
IN-TAPE-OUT
MAI
NOU
T
CNTRL ROOMOUTPUTS
MAI
NOU
T
L
R
Time Code DAT
Studio Monitors
CD Player
SMPT
E Co
ntro
l
CH
1CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
8
1202-VLZ PRO DJ Setup
MORE HOOKUP DIAGRAMS
People Dancing
org
Power Amplifier
out(play)
in(record)
Stereo Compressor
Multi Effect Processor
Left PA Speaker Right PA Speaker
2-Track Deck
Triggered Lights
Stereo EQ
Note: Aux Return #2 can be used as an extra stereo input
3
4
2
12
11
10
9
8
7
4
3
2
1 11
1
2
L
R
L
R
L
R
CHAN
NEL
INSE
RTS
AUX
RETU
RNS
ALT
3/4
OUT
PHONESOUT
INPUTS
L MONO
R
R
R
R
L MONO
L MONO
L MONO
AUX
OUT
L
5
1
2
6CHANNEL
R
L R
IN-TAPE-OUT
MAI
NOU
T
CNTRL ROOMOUTPUTS
MAI
NOU
T
L
R
CD Player
CD Player
Sampler
Turntable
PhonoPreamps
outin
outin
out
out
out
inL
R
L
R
L
R
RIAA
RIAA
CH
1CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
9
1202-VLZ PRO Stereo PA
org
org
red
redPower
Amplifier
Keyboard or other line level input
Stereo Guitar Effects
out(play)
in(record)
Drum Machine
Stereo Compressor
Mono CompressorLine outfrom
Bass Amp
Vocal Mics
Multi Effect Processor
Power AmpStage Monitors
Left PA Speaker Right PA Speaker
2-Track Deck
Stereo EQ
This setup can be easily reconfigured to becomea Mono PA setup.
A. Stereo sources should feed the left monoside of channel input only.
B. Pan each channel hard left.C. Connect Mono PA system to
Left main output.
Mono EQ
Bass Effects
CH
1CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1CH
2
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
3
4
2
12
11
10
9
8
7
4
3
2
3
1 11
1
2
L
R
L
R
L
R
CHAN
NEL
INSE
RTS
AUX
RETU
RNS
ALT
3/4
OUT
PHONESOUT
INPUTS
L MONO
R
R
R
R
L MONO
L MONO
L MONO
AUX
OUT
L
5
1
2
6
CHANNEL
R
L R
IN-TAPE-OUT
MAI
NOU
T
CNTRL ROOMOUTPUTS
MAI
NOU
T
L
R ��
�
outin
outin
outin
10
1202-VLZ PRO PATCHBAY DESCRIPTIONAt the risk of stating the obvious, this is
where you plug everything in: microphones,line-level instruments and effects, head-phones, and the ultimate destination for yoursound: a tape recorder, PA system, etc.
MIC INPUTS (Channels 1–4)We use phantom-powered, balanced
microphone inputs just like the big studiomega-consoles, for exactly the same reason:This kind of circuit is excellent at rejectinghum and noise. You can plug in almost anykind of mic that has a standard XLR-type malemic connector. To learn how signals arerouted from these inputs: . If you wire yourown, connect them like this:
Pin 1 = Ground or shieldPin 2 = Positive (+ or hot)Pin 3 = Negative (– or cold)
Professional ribbon, dynamic, and con-denser mics will all sound excellent throughthese inputs. The 1202-VLZ PRO’s mic inputswill handle any kind of mic level you can tossat them, without overloading. Be sure to per-form the Level-Setting Procedure: .
PHANTOM POWERMost modern professional condenser mics
are equipped for Phantom Power, which letsthe mixer send low-current DC voltage to themic’s electronics through the same wires thatcarry audio. (Semipro condenser mics oftenhave 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 powerand aren’t affected by it anyway.
The 1202-VLZ PRO’s phantom power is glo-bally controlled by the PHANTOM switch on therear panel . (This means the phantom powerfor channels 1-4 is turned on and off together.)
Never plug single-ended(unbalanced) micro-phones or instruments intothe MIC input jacks if thePHANTOM power is on.
Do not plug instrument outputs into theMIC input jacks with PHANTOM power onunless you know for certain it is safe to do so.
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 unbalancedsources at almost any level. You can use theseinputs for virtually any signal you’ll comeacross, from instrument levels as low as –40dBto operating levels of –10dBV to +4dBu, sincethere is 40dB more gain available than onchannels 5–12. To learn how signals arerouted from these inputs: .
LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 L
MONO
L
MONO
L
MONO
L
MONO
LINE IN 5-6
R R R R
AUX SENDTAPEINPUT
TAPEOUTPUT
L
R
1
2
1
2
RIGHT
L
R
RIGHT
MIC 1 MIC 2 MIC 3 MIC 4
LEFT
LEFT/MONO
STEREO AUX RETURN MAIN OUT
BAL/UNBAL
LINE IN 7-8 LINE IN 9-10 LINE IN 11-12
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
ALL BAL/UNBAL
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
2
2
3 1
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
SHIELD
COLDHOT
3
2
1
11
Another way to considerLOW CUT’s function is that itactually adds flexibility duringlive performances. With theaddition of LOW CUT, you cansafely use LOW equalization onvocals. Many times, bassshelving EQ can really benefitvoices. Trouble is, adding LOW EQ also boostsstage rumble, mic handling clunks and breathpops. LOW CUT removes all those problems soyou 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.
TRIM (Channels 1–4)If you haven’t already, please read the Level-
Setting Procedure .TRIM adjusts the input sensitivity of the mic
and line inputs connected to channels 1through 4. This allows signals from the outsideworld to be adjusted to optimal internal oper-ating levels.
If the signal originates through the XLRjack, there will be 0dB of gain with the knobfully down, ramping to 60dB of gain fully up.
Through the 1⁄4" input, there is 15dB ofattenuation fully down and 45dB of gain fullyup, with a “U” (unity gain) mark at 10:00. This15dB of attenuation can be very handy whenyou are inserting a signal that is very hot, orwhen you want to add a lot of EQ gain, or both.Without this “virtual pad,” a scenario like thatmight lead to channel clipping.
To connect balanced lines to these inputs,use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, the typefound on stereo headphones:
Tip = Positive (+ or hot)Ring = Negative (– or cold)Sleeve = Shield or ground
To connect unbalanced lines to theseinputs, use a 1⁄4" mono (TS) phone plug orstandard instrument cable:
Tip = SignalSleeve = Ground
LINE IN inputs 1–4 are a good place to con-nect older instruments that need more gain.You can correct weak levels by adjusting thecorresponding channel’s TRIM control .
LOW CUT (Channels 1–4)The LOW CUT switch, often referred to as a
High Pass Filter (all depends on how you lookat it), cuts bass frequencies below 75Hz at arate of 18dB per octave.
We recommend that you use LOW CUT onevery microphone application except kickdrum, bass guitar, bassy synth patches, orrecordings of earthquakes. These aside, thereisn’t much down there that you want to hear,and filtering it out makes the low stuff you dowant much more crisp and tasty. Not only that,but LOW CUT can help reduce the possibilityof feedback in live situations and it helps toconserve the amplifier power.
SLEEVE
TIPSLEEVE
TIP
RING
RING
TIP
SLEEVERING
SLEEVE
TIP
TIPSLEEVE
TIP
SLEEVE
Low Cut with Low EQ20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
Low Cut
12
LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 L
MONO
L
MONO
L
MONO
L
MONO
PHONESLINE IN 5-6
R R R R
AUX SENDTAPEINPUT
TAPEOUTPUT
L
R
1
2
1
2
RIGHT
L
R
RIGHT
MIC 1 MIC 2 MIC 3 MIC 4
LEFT
LEFT/MONO
STEREO AUX RETURN MAIN OUT
BAL/UNBAL
LINE IN 7-8 LINE IN 9-10 LINE IN 11-12
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
ALL BAL/UNBAL
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
STEREO LINE INPUTS(Channels 5–6, 7–8, 9–10 and 11–12)
These fully balanced inputs are designed forstereo or mono, balanced or unbalanced sig-nals, from –10dBV to +4dBu. They can be usedwith just about any professional or semiproinstrument, effect or tape player. To learn howsignals are routed from these inputs: . Towire your own cables: .
In the stereo audio world, an odd-numberedchannel usually receives the “left signal.” Forexample, you would feed the 1202-VLZ PRO’s lineinputs 5-6 a stereo signal by inserting the device’sleft output plug into the channel 5 jack, and itsright output plug into the channel 6 jack.
When connecting a mono device (just onecord), always use the LEFT (MONO) input(LINE IN jacks 5, 7, 9 or 11) and plug nothinginto the RIGHT input (LINE IN jacks 6, 8, 10 or12)— this way the signal will appear on bothsides. This trick is called “jack normalling” .
EFFECTS: SERIAL ORPARALLEL?
The next two sections tossthe terms “serial” and “paral-lel” 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 serialeffects device before or after the mixer, or pref-erably through the insert jacks located on therear panel (CHANNEL INSERT send/return).
“Parallel” means that a portion of the signalin the mixer is tapped off to the device (AUXSEND), processed and returned to the mixer(STEREO AUX RETURN) to be mixed with theoriginal “dry” signal. This way, multiple chan-nels can all make use of the same effectsdevice. Examples: reverb, digital delay. (Seediagrams below.)
Dry Signal ProcessedSignal
InsertSend
InsertReturn
Dry Signal(s) Dry Signal(s)
AuxSend
AuxReturn
Wet Signal
Channel PathMix
Stage
OutputSection
ProcessedSignal
Signal Processor(e.g., Compressor)
Signal Processor(e.g., Reverb)
Parallel device
Serial device
13
AUX RETURNSThis is where you connect the outputs of
your parallel effects devices (or extra audiosources). These balanced inputs are similar tothe stereo LINE IN inputs (without EQ, AuxSends, Pan, Mute, and Solo). The circuits willhandle stereo or mono, balanced or unbalancedsignals, either instrument level, –10dBV or+4dBu. They can be used with just about anypro or semipro effects device on the market.To learn how signals are routed from theseinputs, see .
One Device: If you havejust one parallel effectsdevice, use STEREO AUXRETURN 1 and leave STE-REO AUX RETURN 2
unplugged. That way, the unused AUX RE-TURN 2 level control can be used to feedAUX RETURN 1 to your stage monitors, viathe EFX TO MONITOR switch .
Mono Device: If you have an effects de-vice with a mono output (one cord), plugthat into STEREO AUX RETURN 1, LEFT/MONO, and leave AUX RETURN 1, RIGHT,unplugged. That way the signal will be sentto both sides, magically appearing in thecenter as a mono signal. This won’t workwith AUX RETURN 2 — you’ll need a Y-cord.
CHANNEL INSERT(Channels 1–4 )
These jacks, on the backof the 1202-VLZ PRO, arewhere you connect serial ef-
fects such as compressors, equalizers,de-essers, or filters . Since most people don’thave more than a few of these gadgets, we’veincluded inserts for just the first four chan-nels. If you want to use this kind of processingon channels 5 through 12, simply patchthrough the processor before you plug into the1202-VLZ PRO.
The CHANNEL INSERT points are after theTRIM and LOW CUT controls, but before thechannel’s EQ and GAIN controls. The send(tip) is low-impedance (120 ohms), capable ofdriving any line-level device. The return (ring)is high-impedance (over 2.5k ohms) and canbe driven by almost any device.
Insert cables must be wired thusly:
“tip”
This plug connects to one of the mixer’s Channel Insert jacks. “ring”
tipring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
Tip = Send (output to effects device)Ring = Return (input from effects device)Sleeve = Common ground (connect shield to
all three sleeves)Besides being used for inserting external
devices, these jacks can also be used as chan-nel direct outputs; post-TRIM, post-LOW CUT,and pre EQ. In fact, Mackie mic preamps havebecome so famous that people buy these mix-ers just to have four of these preamps in theirarsenal. Here’s three ways you can use theCHANNEL INSERT jacks:
Direct out with no signal interruption to master.Insert only to first “click.”
Channel Insert jack
Channel Insert jack
Channel Insert jack
Direct out with signal interruption to master.Insert all the way in to the second “click.”
For use as an effects loop.(TIP = SEND to effect, RING = RETURN from effect.)
MONO PLUG
MONO PLUG
STEREO PLUG
4 3 2 1
CHANNEL INSERTS( PRE-FADER / PRE EQ TIP SEND / RING RETURN )
SERIAL NUMBER MANUFACTURING DATE
ECHANGE DE MÊME TYPE.REMPLACER LE FUSIBLE
R ELECTRIC SHOCK, DO NOT NOT REMOVE COVER. G TO QUALIFIED PERSONNEL.
OUVRIR
MIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
N WOODINVILLE, WA, USARADEMARKS OR REGISTERED TRADEMARKSD THE "RUNNING MAN" FIGURE • PATENT PENDING
14
TAPE INPUTThese RCA jacks are designed to work with
semipro as well as pro recorders. To compen-sate for typically low levels, signals coming inhere will be automatically boosted by 6dB.
Connect your tape recorder’s outputs here,using standard hi-fi (RCA) cables. To learn howsignals are routed from these inputs, see .
Outputs? The 1202-VLZ PRO has plenty of’em: XLR main outputs, 1⁄4" MAIN OUTS, RCATAPE OUTPUT, PHONES, CONTROL ROOMand AUX SEND 1 and 2. Let’s take a peek.
XLR MAIN OUTSThese low-impedance outputs are fully bal-
anced and capable of driving +4dBu lines withup to 28dB of headroom. This output is 6dBhotter than other outputs. To learn how sig-nals are routed to these outputs: .
To use these outputs, wire the XLR(balanced only) connectors like this:
LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 L
MONO
L
MONO
L
MONO
L
MONO
PHONESLINE IN 5-6
R R R R
AUX SENDTAPEINPUT
TAPEOUTPUT
L
R
1
2
1
2
RIGHT
L
R
RIGHT
MIC 1 MIC 2 MIC 3 MIC 4
LEFT
LEFT/MONO
STEREO AUX RETURN MAIN OUT
BAL/UNBAL
LINE IN 7-8 LINE IN 9-10 LINE IN 11-12
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
ALL BAL/UNBAL
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
TIPSLEEVETIPSLEEVE
Use these jacks for convenient tape play-back of your mixes. You’ll be able to review amix and then rewind and try another passwithout repatching or disturbing the mixer lev-els. You can also use these jacks with aportable tape or CD player to feed music to aPA system between sets.
WARNING: Engagingboth the TAPE andASSIGN TO MAIN MIXbuttons in the CONTROLROOM SOURCE matrix
can create a feedback path between TAPEINPUT and TAPE OUTPUT. Make sure yourtape deck is not in record, record-pause, orinput monitor mode when you engage theseswitches, or make sure the CONTROLROOM / SUBMIX level knob is fully counter-clockwise (off).
2
2
3 1
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
SHIELD
COLDHOT
3
2
1
Pin 1 = GroundPin 2 = Positive (+ or hot)Pin 3 = Negative (– or cold)
15
POWERON
PHANTOMON
MAINLEFT
MAINOUTPUTLEVEL
MAINRIGHT
BALANCED BALANCED
120 VAC 50/60 Hz 25W500mA/250V SLO-BLO
TO REDUCE THE RISK OFFIRE REPLACE WITH SAME
TYPE .5A-250V FUSE
CAUTION:
MIC+4
1202-VLZPRO12-CHANNEL MIC/LINE MIXER
WITH PREMIUM XDRTM MIC PREAMPLIFIERS
XLR MAIN OUTPUT LEVEL SWITCHEngaging the MAIN OUTPUT LEVEL switch
pads the balanced XLR main outputs by 30dB,so you can feed the microphone input of, say,another mixer.
You can safely connect this output into aninput that provides 48V phantom power.
1⁄4" MAIN OUTSThese 1⁄4" jacks are balanced outputs ca-
pable of delivering 22dBu into a 600 ohmbalanced or unbalanced load. (Okay, we admitit, that was a pretty technical sentence. Seethe Glossary and Connections appendices ifyou want to decode it.)
To learn how signals are routed to these 1⁄4"outputs: .
To use these outputs to drive balanced in-puts, connect 1⁄4" TRS (Tip-Ring-Sleeve)phone plugs like this:
SLEEVE
TIPSLEEVE
TIP
RING
RING
TIP
SLEEVERING
Tip = + (hot)Ring = – (cold)Sleeve = Ground
For most music recording and PA applica-tions, unbalanced lines are perfectlyacceptable. To use these outputs to drive un-balanced inputs, connect 1⁄4" TS (Tip-Sleeve)phone plugs like this:
SLEEVE
TIP
TIPSLEEVE
TIP
SLEEVE
Tip = + (hot)Sleeve = Ground
TAPE OUTPUTThese unbalanced RCA connections tap the
main output to make simultaneous recordingand PA work more convenient. Connect theseto your recorder’s inputs. To learn how signalsare routed to these outputs: .
Mono Out: If you want to feed a mono signalto your tape deck or other device, simply usean RCA Y-cord to combine these outputs(Radio Shack® #274-511, for instance). Do notattempt this with any other outputs on the1202-VLZ PRO.
TIPSLEEVETIPSLEEVE
16
LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 L
MONO
L
MONO
L
MONO
L
MONO
PHONESLINE IN 5-6
R R R R
AUX SENDTAPEINPUT
TAPEOUTPUT
L
R
1
2
1
2
RIGHT
L
R
RIGHT
MIC 1 MIC 2 MIC 3 MIC 4
LEFT
LEFT/MONO
STEREO AUX RETURN MAIN OUT
BAL/UNBAL
LINE IN 7-8 LINE IN 9-10 LINE IN 11-12
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
BALOR
UNBAL
ALL BAL/UNBAL
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
LOW CUT75 Hz
18dB/OCT
TRIM+15dB -45dB
MIC GAIN
0
U
60
-10dBV
XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
ALT 3–4 OUTPUTThese 1⁄4" jacks are balanced outputs capable
of delivering 22dBu into a balanced or unbal-anced load. To learn how signals are routed tothese outputs: . To wire your own cables: .
CONTROL ROOMThese 1⁄4" jacks are balanced outputs
capable of delivering 22dBu into a 600 ohmbalanced or unbalanced load. To learn howsignals are routed to these outputs: . Towire your own cables: .
AUX SEND 1&2These 1⁄4" jacks are also balanced outputs
capable of delivering 22dBu into a 600 ohmbalanced or unbalanced load. To learn howsignals are routed to these outputs: . Towire your own cables: .
PHONESThe 1202-VLZ PRO’s stereo PHONES jack
will drive any standard headphone to very loudlevels. Walkperson-type phones can also beused with an appropriate adapter. To learnhow signals are routed to these outputs: . Ifyou’re wiring your own cable for the PHONESoutput, follow standard conventions:
SLEEVE
LEFTSLEEVE
LEFT
RIGHT
RIGHT
TIP
SLEEVERING
Tip = Left channelRing = Right channelSleeve = Common ground
WARNING: When we saythe headphone amp isloud, we’re not kidding. Itcan cause permanent eardamage. Even intermedi-
ate levels may be painfully loud with someearphones. BE CAREFUL!
Always turn the CTL ROOM/ SUBMIX knoball the way down before connecting head-phones. Keep it down until you’ve put thephones on. Then turn it up slowly. Why? “Engi-neers who fry their ears find themselves withshort careers.”
17
POWER CONNECTIONJust in case you lose the cord provided with
the 1202-VLZ PRO, its power jack accepts astandard 3-prong IEC cord like those found onmost professional recorders, musical instru-ments, and computers.
At the other end of our cord is — get this— a plug! Not a black cube or, as we’re fond ofcalling them, a “wall wart.” We did this forsome very good reasons:
The 1202-VLZ PRO has sophisticated powerrequirements that a wall wart cannot provide.Wall warts are inconvenient, fragile, radiatehuge hum fields, hog extra jacks on yourpower strip and get in the way. If you lose awall wart, you’re in trouble, but if you lose the1202-VLZ PRO’s power cord, you can get a newone at any electronics, music, or computerstore. You can even buy them at Radio Shack®
(part # 278-1257). Can you tell that we hatewall warts?
Plug the 1202-VLZ PRO into any standardgrounded AC outlet or into a power strip ofproper voltage.
WARNING: Disconnectingthe plug’s ground pin canbe dangerous. Pleasedon’t do it.
FUSEThe 1202-VLZ PRO is fused for your (and its
own) protection. If you suspect a blown fuse,disconnect the cord, pull the fuse drawer out(located just below the cord receptacle) andreplace the fuse with a 500mA (0.5 amps) SLOBLO 5x20mm, available at electronics stores oryour dealer (or a 250mA SLO BLO 5x20mm ifyour 1202-VLZ PRO is a 220V–240V unit).
If two fuses blow in a row, something is verywrong. Please call our toll-free number1-800-258-6883 from within the U.S. (or the dis-tributor in your country) and find out what to do.
POWER SWITCHIf this one isn’t self-explanatory, we give up.
You can leave this switch on all the time; the1202-VLZ PRO is conservatively designed, soheat buildup isn’t a problem even in 24-hour-a-day operation. There’s nothing that will burnout or get used up.
You may notice that the 1202-VLZ PRO feelsquite warm in the upper-right corner. This isperfectly normal.
(“Perfectly normal.” Is that redundant?)
PHANTOM SWITCHThe PHANTOM power switch controls the
phantom power supply for condenser micro-phones plugged into channels 1-4 MIC inputs as discussed at the start of this section .When turned on (or off), the phantom powercircuitry takes a few moments for voltage toramp up (or down). This is also perfectly normal.
POWERON
PHANTOMON
MAINLEFT
MAINOUTPUTLEVEL
MAINRIGHT
4 3R/4 L/3 2 1
CHANNEL INSERTSBAL/UNBALBALANCED BALANCED BAL/UNBAL
120 VAC 50/60 Hz 25W500mA/250V SLO-BLO
( PRE-FADER / PRE EQ TIP SEND / RING RETURN )
ALTOUTPUT
R L
CONTROLROOM
TO REDUCE THE RISK OFFIRE REPLACE WITH SAME
TYPE .5A-250V FUSE
CAUTION:
MIC+4
SERIAL NUMBER MANUFACTURING DATE
RISK OF ELECTRIC SHOCKDO NOT OPEN
REPLACE WITH THE SAME TYPE FUSE AND RATING.DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
CAUTION
AVIS: RISCQUE DE CHOC ÉLECTRIQUE — NE PAS OUVRIR
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
DESIGNED BY MACKOIDS IN WOODINVILLE, WA, USACOPYRIGHT ©1998 • THE FOLLOWING ARE TRADEMARKS OR REGISTERED TRADEMARKS
OF MACKIE DESIGN INC.: "MACKIE", "VLZ","XDR" AND THE "RUNNING MAN" FIGURE • PATENT PENDING
1202-VLZPRO12-CHANNEL MIC/LINE MIXER
WITH PREMIUM XDRTM MIC PREAMPLIFIERS
18
U
OO +15
U
OO +15
U
+15-15
U
+12-12
U
+15-15
L R
U
+20dBOO
1MUTE
HI12kHz
MID2.5kHz
LOW80Hz
EQ
AUX
PAN
PRE FADERSOLO
1
2
GAIN
ALT 3-4
MON/EFX
EFX
CHANNEL STRIP DESCRIPTION
The eight channel strips look alike, andfunction identically. The only difference is thatthe four on the left are for individual mics ormono instruments and have more gain avail-able, while the next four are for either stereoor mono line-level sources. (Each of the stereochannel strips is actually two complete cir-cuits. The controls are linked together topreserve stereo.) We’ll start at the bottom andwork our way up…
“U” LIKE UNITY GAINMackie mixers have a
“U” symbol on almost everylevel control. This “U”stands for “unity gain,”
meaning no change in signal level. Once youhave adjusted the input signal to line-level ,
you can set every control at“U” and your signals willtravel through the mixer atoptimal levels. What’smore, all the labels on ourlevel controls are measuredin decibels (dB), so you’llknow what you’re doinglevel-wise if you choose tochange a control’s settings.
You won’t have to checkit here and check it there,as you would with someother mixers. In fact, somedon’t even have any refer-ence to actual dB levels atall! Ever seen those “0–10”fader markings? We callthese AUMs (ArbitraryUnits of Measurement),and they mean nothing inthe real world. You weresmart — you bought aMackie.
GAINThe rotary GAIN knob controls the channel’s
level… from off to unity gain at the detent, onup to 20dB of additional gain. The GAIN knob isthe equivalent of a channel fader. Channels 1through 4 use mono controls, and channels 5through 12 use stereo controls, and may feelslightly different. Not a problem.
PRE-FADER SOLOThis lovable switch allows you to hear sig-
nals through your headphones or control room without having to route them to the MAIN
MIX or ALT 3-4 mix. You don’t even have tohave the channel’s GAIN knob turned up.Folks use solo in live work to preview channelsbefore they are let into the mix, or to justcheck out what a particular channel is up toanytime during a session. You can solo as manychannels at a time as you like.
Solo is also the key player in the Level-Setting Procedure .
Soloed channels are sent to the SOURCEmix , which ultimately feeds your CONTROLROOM, PHONES and meter display. When-ever SOLO is engaged, all SOURCE selections(MAIN MIX, ALT 3-4 and TAPE) are defeated,to allow the soloed signal to do just that — solo!
WARNING: PRE-FADERSOLO taps the channelsignal before the GAINknob. If you have achannel’s GAIN knob set
below “U” (unity gain), SOLO won’t knowthat and will send a unity gain signal to theCONTROL ROOM, PHONES and meter dis-play. That may result in a startling levelboost at these outputs.
MUTE/ALT 3–4The dual-purpose MUTE/ALT 3–4 bus is a
Mackie signature. When Greg was designingour first product, he had to include a MUTEswitch for each channel. MUTE switches dojust what they sound like they do. They turnoff the signal by “routing” it into oblivion. “Gee,what a waste,” Greg reasoned. “Why not havethe mute button route the signal somewhereelse useful… like a separate stereo bus?” SoMUTE/ALT 3–4 really serves two functions —muting (often used during a mixdown or liveshow), and signal routing (for multitrack and
19
live work) where it acts as an extra stereo bus.To use this as a MUTE switch, all you have to
do is not use the ALT 3–4 outputs. Then, when-ever you assign a channel to these unusedoutputs, you’ll also be disconnecting it from theMAIN MIX, effectively muting the channel.
To use this as an ALT 3–4 switch, all youhave to do is connect the ALT 3–4 outputs towhatever destination you desire. Two popularexamples:
When doing multitrack recording, use theALT 3–4 outputs to feed your multitrack. Withmost decks, you can mult the ALT 3–4 outputs,using Y-cords or mults, to feed multiple tracks.So, take ALT OUTPUT L and send it to tracks1, 3, 5 and 7, and ALT OUTPUT R and send itto tracks 2, 4, 6 and 8. Now, tracks that are inRecord or Input modes will hear the ALT 3–4signals, and tracks in Playback or Safe modeswill ignore them.
When doing live sound or mixdown, it’s oftenhandy to control the level of several channelswith one knob. That’s called subgrouping. Sim-ply assign these channels to the ALT 3–4 mix,engage ALT 3–4 in the SOURCE matrix, and thesignals will appear at the CONTROL ROOMand PHONES outputs. If you want the ALT 3–4signals to go back into the MAIN MIX, engagethe ASSIGN TO MAIN MIX switch , and theCONTROL ROOM/SUBMIX level control be-comes the one knob to control the levels of allchannels assigned to ALT 3–4.
Another way to do the same thing is assignthe channels to the ALT 3–4 mix, then patchout of the ALT OUTPUT L and R back into anunused stereo channel (5–6, 7–8, 9–10 or11–12). If that’s your choice, don’t ever engagethe MUTE/ALT 3–4 switch on that stereo chan-nel, or you’ll have every dog in theneighborhood howling at your feedback loop.
Another benefit of the ALT 3–4 feature isthat it can act as a “SIP” (Solo-In-Place): justengage a channel's MUTE/ALT 3–4 switch andthe ALT 3–4 switch in the SOURCE matrix and you’ll get that channel, all by itself, in theCONTROL ROOM and PHONES.
MUTE/ALT 3–4 is one of those controls thatcan bewilder newcomers, so take your time andplay around with it. Once you’ve got it down,you’ll probably think of a hundred uses for it!
PANPAN adjusts the amount of channel signal
sent to the left versus the right outputs. Onmono channels (ch. 1–4 or 5–12 with con-nections to the L input only) these controlsact as pan pots. On stereo channels (5–12)with stereo connections to L and R inputs, thePAN knob works like the balance control onyour home stereo.
PAN determines the fate of the MAIN MIX(1–2) and ALT 3–4 mix. With the PAN knobhard left, the signal will feed either MAIN OUTL (bus 1) or ALT OUTPUT L (bus 3), dependingon the position of the ALT 3–4 switch. With theknob hard right, the signal feeds MAIN OUT R(bus 2) or ALT OUTPUT R (bus 4).
CONSTANTLOUDNESS ! ! !
The 1202-VLZ PRO’sPAN controls employ a de-sign called “Constant
Loudness.” It has nothing to do with livingnext to a freeway. As you turn the PAN knobfrom left to right (thereby causing the soundto move from the left to the center to theright), the sound will appear to remain at thesame volume (or loudness).
If you have a channel panned hard left (orright) and reading 0dB, it must dip downabout 4dB on the left (or right) when pannedcenter. To do otherwise (the way Brand X com-pact mixers do) would make the sound appearmuch louder when panned center.
3-BAND EQThe 1202-VLZ PRO has 3-
band equalization at carefullyselected points — LOW
shelving at 80Hz, MID peaking at 2.5kHz, and HIshelving at 12kHz. “Shelving” means that thecircuitry boosts or cuts all frequencies past thespecified frequency. For example, rotating the1202-VLZ PRO’s LOW EQ knob 15dB to theright boosts bass starting at 80Hz and continu-ing down to the lowest note you never heard.“Peaking” means that certain frequencies form a“hill” around the center frequency — 2.5kHz inthe case of the MID EQ.
20
more than about 3dB of EQ. If you need morethan that, there’s usually a better way to get it,such as placing a mic differently (or using adifferent kind of mic entirely).
AUX SENDThese tap a portion of each channel signal
out to another source for parallel effects pro-cessing or stage monitoring. AUX send levelsare controlled by the channel’s AUX 1 and AUX2 knobs and by the AUX 1 MASTER .
These are more than just effects and moni-tor sends. They can be used to generateseparate mixes for recording or “mix-minuses”for broadcast. By using AUX 1 in the PREmode , these mix levels can be obtained in-dependently of the channel’s GAIN control.
AUX 1 in post mode and AUX 2 are post-LOW CUT, post-EQ and post-GAIN. That is,the sends obey the settings of these controls.AUX 1 in PRE mode follows the EQ and LOWCUT settings only. PAN and GAIN have no ef-fect on the PRE send (see diagram below).
Each AUX send level ranges from off throughunity (the center detent position) on up to15dB of extra gain (when turned fully clock-wise). Chances are you’ll never need this extragain, but it’s nice to know it’s there if you do.
Channel 5–12 AUX pots control the monosum of the channel’s stereo signals for eachAUX send. For instance, channel 5 (L) and 6(R) mix together to feed that channel’s AUXsend knobs.
We recommend going into a stereo reverbin mono and returning in stereo. We havefound that on most “stereo” reverbs the sec-ond input just ties up an extra AUX send andadds nothing to the sound. There are excep-tions, so feel free to try it both ways. If youreffects device is true stereo all the waythrough, use AUX 1 to feed its left input andAUX 2 to feed the right input.
Still with us? Good for you. Here come thetricky parts, where the mixing is really done.
LOW EQ
This control gives you up to 15dB boost orcut at 80Hz. The circuit is flat (no boost orcut) at the center detent position. This fre-quency represents the punch in bass drums,bass guitar, fat synth patches, and some reallyserious male singers.
Used in conjunction with theLOW CUT switch , you can boostthe LOW EQ without injecting aton of subsonic debris into the mix.
MID EQ
Short for “midrange,” this knobprovides 12dB of boost or cut, cen-tered at 2.5kHz, also flat at thecenter detent. Midrange EQ isoften thought of as the most dy-namic, because the frequenciesthat define any particular soundare almost always found in thisrange. You can create many inter-esting and useful EQ changes byturning this knob down as well asup.
HI EQ
This control gives you up to 15dBboost or cut at 12kHz, and it is alsoflat at the detent. Use it to addsizzle to cymbals, and an overallsense of transparency, or edge tokeyboards, vocals, guitar and baconfrying. Turn it down a little to re-duce sibilance, or to hide tape hiss.
Moderation during EQ
With EQ, you can also screwthings up royally. We’ve designed alot of boost and cut into each
equalizer circuit, because we know everyonewill occasionally need that. But if you max theEQs on every channel, you’ll get mix mush.Equalize subtly and use the left sides of theknobs (cut), as well as the right (boost). Veryfew gold-record-album engineers ever use
TRIM INSERTLO CUT EQ
GAIN(FADER)
PANMAIN / ALT
AUX 2 KNOB
"POST" SIGNAL
"PRE" SIGNAL
AUX 1 KNOB
"POST" SIGNAL OBEYSMUTE STATUS
INPUT
AUX SEND 1 PRE/POST SWITCH(IN MASTER SECTION)
TO AUX SEND 2 LEVEL
TO AUX SEND 1 LEVEL
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
20Hz 100Hz 1kHz 10kHz 20kHz
–15
–10
–5
0
+5
+10
+15
“Pre vs. Post”Signal Flow Diagram
Low EQ with Low Cut
Mid EQ
Low EQ
Hi EQ
21
MAIN MIXAs the name implies, this knob controls the
levels of signals sent to the main outputs: XLRLEFT and RIGHT , 1⁄4" MAIN OUTS and RCATAPE OUTPUT . All channels and AUX RE-TURNS that are not muted or turned fully downwill wind up in the MAIN MIX.
Fully counterclockwise is off, the center detentis unity gain, and fully clockwise provides 10dBadditional gain. This additional gain will typicallynever be needed, but once again, it’s nice to knowit’s there. This is the knob to turn down at the endof the song when you want The Great Fade-Out.
VLZ MIX ARCHITECTUREWhen designing a mixing cir-
cuit, the lowest noise and bestcrosstalk specs are achieved byusing Very Low Impedance
(VLZ). To implement VLZ in a mixer, the power sup-ply must be able to deliver plenty of current to thecircuitry. That’s why those “wall wart” mixers are of-ten noisy–they can’t power a VLZ circuit.
At Mackie, audio quality is much more importantthan the price of wall warts. All of our mixers employVLZ and built-in power supplies that deliver morethan enough current, resulting in sonic specificationsthat rival consoles upwards of $50,000!
SOURCE MATRIXTypically, the engineer sends the MAIN MIX to
an audience (if live) or a mixdown deck (if record-ing). But what if the engineer needs to hearsomething other than the MAIN MIX? With theNew Improved 1202-VLZ PRO, the engineer hasseveral choices of what to listen to. This is one ofthose tricky parts, so buckle up.
Via the SOURCE switches, you can choose tolisten to any combination of MAIN MIX, ALT 3-4and TAPE. By now, you probably know what theMAIN MIX is. ALT 3-4 is that additional stereo mixbus . TAPE is the stereo signal coming in fromthe TAPE INPUT RCA jacks .
Selections made in the SOURCE matrix deliverstereo signals to the CONTROL ROOM, PHONESand meter display. With no switches engaged,there will be no signal at these outputs and nometer indication.
The exception to that is the SOLO function .Regardless of the SOURCE matrix selection,engaging a channel’s SOLO switch will replacethat selection with the SOLO signal, also sentto the CONTROL ROOM, PHONES and rightmeter (the left meter becomes inactive). Thisis what makes the Level-Setting Procedure so easy to do.
WARNING: Engagingboth the TAPE andASSIGN TO MAIN MIXbuttons in the SOURCEmatrix can create a feed-
back path between TAPE INPUT and TAPEOUTPUT. Make sure your tape deck is notin record, record-pause, or input monitormode when you engage these switches, ormake sure the CONTROL ROOM / SUBMIXlevel knob is fully counterclockwise (off).
OUTPUT SECTION DESCRIPTION
U
OO +10
U
OO +20
U
OO +20
MAXOO +10dBOO
POWER
AUX 1 MASTER
AUXRETURN
1
2
MAIN MIX/SUBMIX
EFX TOMONITOR
NORMALLED
PREPOST
AUX 1SELECT
CTL ROOM
U U
RUDESOLOLIGHT
LEVELSET
CONTROLROOM
SOURCE
ALT 3–4
TAPE
MAIN MIX
CLIP
LEFT RIGHT0dB=0dBu
ASSIGNTO MAIN MIX
28
10
7
4
2
0
2
4
7
10
20
30
22
Now you know how to select the signals youwant to send to the engineer’s control room orphones. From there, these signals all passthrough the same level control:
CONTROL ROOM/SUBMIXThis knob controls the levels of both the
stereo CONTROL ROOM outputs andPHONES outputs . The control range is fromoff through unity gain at the detent, with 10dBof extra gain (when turned fully clockwise).
When MAIN MIX is your SOURCE selec-tion, those signals will now pass through twolevel controls on the way to your control roomamp and phones — the MAIN MIX knob andthis CONTROL ROOM / SUBMIX knob. Thisway, you can send a nice healthy level to theMAIN OUTS (MAIN MIX knob at “U”), and aquiet level to the control room or phones(CONTROL ROOM / SUBMIX knob whereveryou like it).
When ALT 3-4 or TAPE is selected, or SOLOis engaged, CONTROL ROOM / SUBMIX knobwill be the only one controlling these levels(channel controls not withstanding).
Whatever your selection, you can also usethe CONTROL ROOM outputs for other appli-cations. Its sound quality is just as impeccableas the MAIN OUTS. It can be used as addi-tional MAIN MIX output, which may soundsilly since there are already three, but this onehas its own level control. However, should youdo something like this, be sure that you do notengage a SOLO switch, as that will interruptyour SOURCE selection.
PRE-FADER SOLO (PFL)Engaging a channel’s SOLO switch will
cause this dramatic turn of events: Any exist-ing SOURCE matrix selections will be replacedby the SOLO signal, appearing at the CON-TROL ROOM outputs, PHONES outputs, andat the right meter. The audible SOLO levelsare then controlled by the CONTROL ROOM /SUBMIX knob. The SOLO levels appearing on
the right meter display are not controlled byanything — you wouldn’t want that. You wantto see the actual channel level on the meterdisplay regardless of how loud you’re listening.
“PRE-FADER” SOLO means that the channelsignal is being tapped before the channel’sGAIN knob (not really a fader in this case, butwe were afraid you’d laugh if we called it Pre-Knob Solo). It does, however, obey TRIM, LOWCUT and EQ settings, making it the perfect toolfor quick inspections of suspect channels. Thechannel’s PAN and MUTE/ALT 3-4 settings haveno effect on the SOLO signal.
Note: For stereo channels 5-12, the solo signalis the mono sum of the left (odd-numbered)and right (even-numbered) signals for thatchannel strip.
WARNING: PRE-FADERSOLO taps the channelsignal before the GAINknob. If you have achannel’s GAIN knob set
below “U” (unity gain), SOLO won’t knowthat, and will send a unity gain signal tothe CONTROL ROOM, PHONES and meterdisplay. That may result in a startling levelboost at these outputs.
U
OO +10
U
OO +20
U
OO +20
MAXOO +10dBOO
POWER
AUX 1 MASTER
AUXRETURN
1
2
MAIN MIX/SUBMIX
EFX TOMONITOR
NORMALLED
PREPOST
AUX 1SELECT
CTL ROOM
U U
RUDESOLOLIGHT
LEVELSET
CONTROLROOM
SOURCE
ALT 3–4
TAPE
MAIN MIX
CLIP
LEFT RIGHT0dB=0dBu
ASSIGNTO MAIN MIX
28
10
7
4
2
0
2
4
7
10
20
30
23
METERS – MANY DISPLAYS IN ONE!The 1202-VLZ PRO’s peak metering system
is made up of two columns of twelve LEDs. De-ceptively simple, considering the multitude ofsignals that can be monitored by it.
If nothing is selected in the SOURCEmatrix and no channels are in SOLO, theMETERS will just sit there and do nothing. Toput them to work, you must make a selec-tion in the SOURCE matrix (or engage aSOLO switch).
Why? You want the meter display to reflectwhat the engineer is listening to, and as we’vecovered, the engineer is listening either to theCONTROL ROOM outputs or the PHONESoutputs. The only difference is that while thelistening levels are controlled by the CONTROLROOM / SUBMIX knob, the meters read theSOURCE mix before that control, giving youthe real facts at all times, even if you’re notlistening at all.
Thanks to the 1202-VLZ PRO’s wide dy-namic range, you can get a good mix withpeaks flashing anywhere between –20 and+10dB on the METERS. Most amplifiers clip atabout +10dB, and some recorders aren’t so for-giving either. For best real-world results, try tokeep your peaks between “0” and “+7”.
You may already be anexpert at the world of “+4”(+4dBu=1.23V) and “–10”(–10dBV=0.32V) operatinglevels. Basically, what makes
a mixer one or the other is the relative 0dB VU(or 0VU) chosen for the meters. A “+4” mixer,with a +4dBu signal pouring out the back willactually read 0VU on its meters. A “–10” mixer,with a –10dBV signal trickling out, will read,you guessed it, 0VU on its meters. So when is0VU actually 0dBu? Right now!
At the risk of creating another standard,Mackie’s compact mixers address the need ofboth crowds by calling things as they are —0dBu (0.775V) at the output shows as 0dB VUon the METERS. What could be easier? By theway, the most wonderful thing about standardsis that there are so many to choose from.
Remember, audio meters are just tools tohelp assure you that your levels are “in theballpark.” You don’t have to stare at them(unless you want to).
RUDE SOLO LIGHTThis flashing Light Emitting Diode serves
two purposes — to remind you that at least onechannel is in SOLO, and to let you know thatyou’re mixing on a Mackie. No other companyis so concerned about your level of SOLO aware-ness. If you work on a mixer that has a solofunction with no indicator lights, and you happento forget you’re in solo, you can easily betricked into thinking that something is wrongwith your mixer. Hence the RUDE SOLOLIGHT. It’s especially handy at about 3AMwhen no sound is coming out of your monitorsbut your multitrack is playing back like mad.
ASSIGN TO MAIN MIXLet’s say you’re doing a live show. Intermis-
sion is nearing and you’ll want to play asoothing CD for the crowd to prevent themfrom becoming antsy. Then you think, “But Ihave the CD player plugged into the TAPEinputs, and that never gets to the MAINOUTS!” Oh, but it does. Simply engage thisswitch and your SOURCE matrix selection,after going through the CONTROL ROOM /SUBMIX knob, will feed into the MAIN MIX,just as if it were another stereo channel.
Another handy use for this switch is to en-able the ALT 3-4 mix to become a submix ofthe MAIN MIX , using the CONTROLROOM/SUBMIX knob as its level control.
Side effects: (1) Engaging this switch willalso feed any soloed channels into the MAINMIX, which may be the last thing you want. (2)If you have MAIN MIX as your SOURCE matrixselection and then engage ASSIGN TO MAINMIX, the MAIN MIX lines to the SOURCE ma-trix will be interrupted to prevent feedback.Then again, why on earth would anyone wantto assign the MAIN MIX to the MAIN MIX?
24
U
OO +10
U
OO +20
U
OO +20
MAXOO +10dBOO
POWER
AUX 1 MASTER
AUXRETURN
1
2
MAIN MIX/SUBMIX
EFX TOMONITOR
NORMALLED
PREPOST
AUX 1SELECT
CTL ROOM
U U
RUDESOLOLIGHT
LEVELSET
CONTROLROOM
SOURCE
ALT 3–4
TAPE
MAIN MIX
CLIP
LEFT RIGHT0dB=0dBu
ASSIGNTO MAIN MIX
28
10
7
4
2
0
2
4
7
10
20
30
AUX 1 SELECT (MON/PRE or POST)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. Onthe 1202-VLZ PRO, AUX SEND 1 can play ei-ther role, depending on the position of thisswitch.
With the AUX 1 SELECT switch up (disen-gaged), AUX SEND 1 will tap a channelpre-fader (GAIN) and pre-MUTE/ALT 3-4,meaning that no matter how you manipulatethose controls as they feed the MAIN MIX, theAUX SEND will continue to belt out thatchannel’s signal. This is the preferred methodfor setting up stage monitor feeds. EQ settingswill affect all AUX SENDs.
With the switch down, the AUX SEND 1becomes an ordinary effects send — post-fader (GAIN) and post-MUTE/ALT 3-4. Thisis a must for effects sends, since you want thelevels of your “wet” signals to follow the levelof the “dry.”
AUX 1 MASTERThe AUX 1 MASTER provides overall level
control of AUX SEND 1, just before it’s deliv-ered to the AUX SEND 1 output. (AUX SEND2 has no such control.) This knob goes from off(turned fully down), to unity gain at the cen-ter detent, with 10dB of extra gain (turnedfully up). As with some other level controls,you may never need the additional gain, but ifyou ever do, you’ll be glad you bought a Mackie.
This is usually the knob you turn up whenthe lead singer glares at you, points at hisstage monitor, and sticks his thumb up in theair. (It would follow suit that if the singerstuck his thumb down, you’d turn the knobdown… but that never happens.)
AUX TALKFirst of all, there is no
particular alliance betweenAUX SEND 1 (or 2) and AUXRETURN 1 (or 2). They’re
just numbers. They’re like two completestrangers, both named Fred.
Sends are outputs, returns are inputs. TheAUX knob taps the signal off the channeland sends it to the AUX SEND outputs . TheAUX 1 signal is sent to the AUX 1 MASTERknob before going to the AUX SEND 1 outputand the AUX 2 signal goes directly to the AUXSEND 2 output.
These outputs are fed to the inputs of a re-verb or other device. From there, the outputs ofthis external device are fed back to the mixer’sAUX RETURN jacks . Then these signals aresent through the AUX RETURN level controls,and finally delivered to the MAIN MIX.
So, the original “dry” signals go from thechannels to the MAIN MIX and the affected“wet” signals go from the AUX RETURN to theMAIN MIX, and once mixed together, the dryand wet signals combine to create a glorioussound. So, armed with this knowledge, let’svisit the Auxiliary World:
25
AUX RETURNSThese two controls set the overall level of
effects received from STEREO AUX RETURN in-puts 1 and 2 . These controls are designed tohandle a wide range of signal levels, from off, tounity gain at the detent, with 20dB gain fullyclockwise, to compensate for low-level effects.
Typically, these knobs can just live at thecenter detent, and the effects device’s outputcontrol should be set at whatever they callunity gain (check their manual). If that turnsout to be too loud or too quiet, adjust the ef-fects device’s outputs, not the mixer. That way,the mixer’s knobs are easy to relocate at thecenter detent.
Signals passing through the AUX RETURNlevel controls will proceed directly to MAINMIX , with one exception (see next para-graph). The AUX RETURNs do not haveMUTE/ALT 3-4 switches, so if you want thesesignals to get to the ALT 3-4 mix, you’ll have topatch the effects device’s outputs into one ofthe stereo channels , and MUTE/ALT thosechannels.
EFX TO MONITORThe idea behind the EFX TO MONITOR
switch is simple. If you want to add reverb ordelay to the stage monitor mixes, this is theswitch for you. The implementation leading upto the switch is the tricky part:
With the switch up, AUX RETURN 1 and 2behave normally — they deliver their signalsinto the MAIN MIX. With the switch down,AUX RETURN 1 still behaves normally, butAUX RETURN 2 will feed AUX SEND 1 instead of the MAIN MIX.
Still with us? Good. So far, with the switchdown, we have AUX RETURN 1 feeding theMAIN MIX and AUX RETURN 2 feeding AUXSEND 1. Now, suppose you only have one ef-fects device, and you want it to feed both theMAIN MIX and AUX SEND 1. That’s where“jack normalling” comes in.
JACK NORMALLINGJack normalling (not to be confused with
Jack Normalling, Chicago Cubs utility infielder,1952-61, .267 LBA) is a feature found on al-most every mixer, keyboard and effects device.These jacks have special spring-loaded pinsthat connect to the signal pins, but whensomething is plugged into the jack, thatconnection is broken.
These normalling pins can be used in allsorts of ways. The ubiquitous phrase “LEFT(MONO)” means that if you plug a signal intothe LEFT side and have nothing in the RIGHTside, that signal is also fed to the right input,courtesy of jack normalling. As soon as youplug something in the RIGHT side, thatnormalled connection is broken.
How does all this relate to the EFX TOMONITOR switch? AUX RETURN 1’s inputsare normalled to AUX RETURN 2. If you haveone effects device, plug it into AUX RETURN 1.Plug nothing into AUX RETURN 2. Now thesignals feeding the AUX RETURN 1 inputs willalso be sent to the AUX RETURN 2 inputs.
Engage the EFX TO MONITOR switch, andnow the AUX RETURN 2 knob will become anadditional AUX SEND 1 knob for the signal atAUX RETURN 1 . Say that ten times! Onceagain, AUX RETURN 1 will behave normally,as always.
Congratulations! You’ve just read about allthe features of your 1202-VLZ PRO. You’reprobably ready for a cold one. Go ahead. Therest of the manual can wait.
MODIFICATIONSFor most folks, the 1202-VLZ PRO works just
fine the way it is. But for special applications,there are three signal routing changes that canbe performed easily on the 1202-VLZ PRO. Easyfor someone with soldering experience, that is.If you don’t know how to solder, find a techni-cian that can. This is NOT a good place to learn!• Modification A changes AUX SEND 2 to be
pre-fader, pre-mute instead of post-fader,post-mute.
• Mod B changes AUX SEND 1 (in postmode) and AUX SEND 2 to receive signalregardless of the channel’s MUTE/ALTswitch position, but still be post-fader(GAIN knob).
• Mod C changes the SOURCE matrix’sMAIN MIX selection to tap the stereosignal before the MAIN MIX level control(pre) instead of after (post).
Instructions for performing these modificationscan be found on our website at www.mackie.com(click on Support). Or you can call Tech Supportat 1-800-258-6883 for assistance.
26
1202-VLZ PRO BLOCK DIAGRAM
75H
zH
PF
MID
HI
80
2K5
12K
LO MID
HI
80
2K5
12K
LO
MID
HI
80
2K5
12K
LO
SOL
ORE
LAY
22 10 7 4 2 0 2 4 7 10 20 30
MAIN LMAIN RALT LALT R
AUX SEND 1 PREAUX SEND 1 POSTAUX SEND 2 POST
SOLOLOGIC
PHA
NTOM
POW
ER
MIC
IN
LINE
IN
TRIM
INS
ERT
LO C
UT
3-BA
ND E
Q
GA
INPA
NM
AIN
/ A
LT
AUX
SEN
DS
SOL
O (P
FL)
MON
O CH
ANN
EL(1
OF
4)
21
3
STE
REO
CHA
NNEL
(1 O
F 4)
LINE
IN L
LINE
IN R
3-BA
ND E
Q
GA
INPA
N
MA
IN /
ALT
AUX
RET
URN
1
L IN
R IN
AUX
RET
URN
2
L IN
(MON
O)
R IN
GA
IN
GA
IN
EFX
TO M
ONIT
OR
MA
IN M
IXM
AIN
LEVE
L30
dB P
AD
TAPE
OUT
L
LINE
OUT
L
BAL
OUT
L
BAL
OUT
R
LINE
OUT
RA
LT M
IX
ALT
OUT
L
ALT
OUT
R
ALT
TAPE
MA
IN
SOU
RCE
CONT
ROL
ROOM
&PH
ONES
LEV
EL
MET
ERIN
G(0
dBu
= 0
VU)
LEFT
RIG
HT
CONT
ROL
ROOM
OUT
PHON
ES O
UT
AUX
MIX
AUX
1PR
E / P
OST
AUX
SEN
D 2
AUX
SEN
D 1
MACKIE MS1202-VLZ PROBLOCK DIAGRAM1/99
SOL
O M
IX
AS
SIG
N TO
MA
IN
TAPE
IN+6
dBL R
CONT
ROL
ROOM
&PH
ONES
MIX
2 31
2 31
RUDE
SOL
O LE
D
SOL
O (P
FL)
AUX
2 AUX
1
AUX
1 LE
VEL
TAPE
OUT
R
27
GAIN STRUCTURE DIAGRAM
+22d
Bu m
ax in
15dB
loss
, TRI
M d
own
45dB
gai
n, T
RIM
up
+22d
Bu m
ax in
Unit
y ga
in
LINE
IN, C
hann
els
5-12
LINE
IN, C
hann
els
1-4
+6dB
XLR
OUT
to 'A
'
to 'A
'
MA
IN M
IX, A
LT 3
-40
dB
0dB
TAPE
IN 6
dB B
oost
'D'
+10
dB u
p
OUTP
UT
0dB
SOU
RCE
Mat
rixC-
R/PH
ONES
MIX
C-R/
PHON
ES L
EVEL
CONT
ROL
ROOM
/ PH
ONES
From
'B'
+15d
B up
+10
dB u
p
Chan
nel A
UX S
END
AUX
MIX
Mas
ter A
UX S
END
0dB
OUTP
UT
AUX
SEN
D
INPU
T
+20
dB u
p
to 'C
'0
dB
LEVE
L
AUX
RET
URN
+22d
Bu m
ax o
ut
+16
dBu
max
TA
PE IN
+22d
Bu m
ax in
+22d
Bu m
ax o
ut
+10
dB u
p
MIC
IN, C
hann
els
1-4
60
dB g
ain,
TRI
M u
p
0dB
gai
n, T
RIM
dow
n
+22d
Bu m
ax in
+15d
B up
-15d
B do
wn
LOW
+12d
B up
-12d
B do
wn
MID
+15d
b up
-15d
B do
wn
HIG
H
+20
dB u
p
GA
INPA
N
-4dB
cen
ter
EQM
IX
0dB
1/4"
Out
and
RCA
Tap
e Ou
t
-30
dB X
LR O
UT, P
AD
enga
ged
OUTP
UTS
CHA
NNEL
MA
IN M
IX
to 'A
''A
'to
'D'
0dB
'C'
'B'
0dB
+22d
Bu m
ax o
ut (1
/4" &
RCA
)+2
8dB
u m
ax o
ut (X
LR)
to 'C
'
LEVE
L
28
SPECIFICATIONS
Main Mix Noise20Hz–20kHz 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: –100dBuMain Mix knob unity, channel Gain knobs down: –86.5dBu(90dB Signal to Noise Ratio, ref +4dBu)Main Mix knob @ unity, channel Gain knobs @ unity:
–84.5dBu
Total Harmonic Distortion (THD)1kHz @ +14dBu, 20Hz–20kHz.
Mic pre @ insert : 0.0007%
Attenuation (Crosstalk)1kHz relative to 0dBu, 20Hz–20kHz bandwidth,Line in, 1⁄4" Main Out, Trim @ unity
Main Mix knob down: –85dBuChannel Alt / Mute switch engaged: –84dBuChannel Gain knob down: –83dBu
Frequency ResponseAny input to any output
20Hz to 60kHz: +0dB/–1dB20Hz to 100kHz: +0dB/–3dB
Equivalent Input Noise (EIN)Mic in to Insert Send out, max gain
150 ohm termination: –129.5dBm unweighted
Common Mode Rejection (CMR)Mic in to Insert Send out, max gain
1kHz: better than –90dB
Maximum LevelsMic in: +22dBuTape in: +16dBuAll other inputs: +22dBuMain Mix XLR out: +28dBuAll other outputs: +22dBu
ImpedancesMic in: 1.3 kilohmsChannel Insert return: 2.5 kilohmsAll other inputs: 10 kilohms or greaterTape out: 1.1 kilohmsAll other outputs: 120 ohms
EQHigh Shelving ±15db @ 12kHzMid Peaking ±12dB @ 2.5kHzLow Shelving ±15db @ 80Hz
Power Consumption120VAC, 50/60Hz, 25 watts
Weight6 lbs 8 oz. (3 kg)
Dimensions11.8" x 11.2" x 2.6" (300mm x 284mm 66mm)
Mackie Designs is always striving to improve ourmixers by incorporating new and improved materi-als, components and manufacturing methods.Because we’re always trying to make things better,we reserve the right to change these specificationsat any time, without notice.
11.2"
— 6
rack
spa
ces
(28
4mm
)
6 ra
cksp
aces
11.8" (300mm)
with optional rack ears (RM1202-VLZ)
11.8" (300mm)
11.2" (284mm)
2.6"
(66m
m)
2.6"
(66m
m)
1202-VLZ PROWEIGHT6.5 lbs.(3 kg)
29
SERVICE INFODetails concerning Warranty Service are
spelled out on the Warranty Card includedwith your mixer (if it’s missing, let us knowand we’ll rush one to you).
If you think your 1202-VLZ PRO has a prob-lem, please do everything you can to confirmit before calling for service. Doing so mightsave you from the deprivation of your mixerand the associated suffering.
Of all Mackie products returned for service(which is hardly any at all), roughly 50% arecoded “CND” — Could Not Duplicate, whichusually means the problem lay somewhere otherthan the mixer. These may sound obvious toyou, but here’s some things you can check:
TROUBLESHOOTING
Bad Channel• Is the MUTE/ALT 3–4 switch in the
correct position?• Is the GAIN knob turned up?• Try unplugging any INSERT devices
(Channels 1–4 only).• Try the same source signal in another
channel, set up exactly like thesuspect channel.
Bad Output
• Is the associated level knob (if any) turned up?• If it’s one of the MAIN OUTS, try unplug-
ging all the others. For example, if it’s the1⁄4" Left Main out, unplug the RCA and XLRLeft outputs. If the problem goes away, itsnot the mixer.
• If it’s a stereo pair, try switching themaround. For example, if a left output ispresumed dead, switch the left and rightcords, at the mixer end. If the problemswitches sides, it’s not the mixer.
Noise
• Turn the channel GAIN and AUXRETURN knobs down, one by one. If thesound disappears, it’s either that chan-nel or whatever is plugged into it, sounplug whatever that is. If the noisedisappears, it’s from your whatever.
Power
• Our favorite question: Is the POWERswitch on?
• Check the fuse .
REPAIRService for the U.S. version of the 1202-VLZ
PRO is available only from Mackie Designs, lo-cated in sunny Woodinville, Washington.(Service for mixers living outside the UnitedStates can be obtained through local dealersor distributors.) If your mixer needs service,follow these instructions:1. Review the preceding troubleshooting
suggestions. Please.2. Call Tech Support at 1-800-258-6883, 9am
to 5pm PST, to explain the problem andrequest an RA number. Have your mixer’sserial number ready. You must have aReturn Authorization number, or wemay refuse the delivery.
3. Set aside the power cord, owner’s manual,or anything else that you’ll ever want to seeagain. We are responsible for the return ofthe mixer only.
4. Pack the mixer in its original package,including endcaps and box. This is VERYIMPORTANT. When you call for the RAnumber, please let Tech Support know ifyou need a new box. Mackie is not respon-sible for any damage that occurs due tonon-factory packaging.
5. Include a legible note stating your name,shipping address (no P.O. boxes), daytimephone number, RA number and a detaileddescription of the problem, including howwe can duplicate it.
6. Write the RA number in BIG PRINT on topof the box.
7. Ship the mixer to us. We suggest insurancefor all forms of cartage. Ship to this address:
Mackie DesignsSERVICE DEPARTMENT16220 Wood-Red Rd. NEWoodinville, WA 98072
8. We’ll try to fix the mixer within fivebusiness days. Ask Tech Support forcurrent turn-around times when you callfor your RA number. We normally sendeverything back prepaid using three-dayshipping. However, if you rush your mixerto us by next-day air, we’ll treat it in kind byshipping it back in the same way in whichit was received. This paragraph does notnecessarily apply to non-warranty service.
30
“XLR” CONNECTORSMackie mixers use 3-pin female “XLR” con-
nectors on all microphone inputs, with pin 1wired to the grounded (earthed) shield, pin 2wired 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 (FigureA). All totallyaboveboard andin full accordwith the hal-lowed standardsdictated by theAES (AudioEngineeringSociety).
Use a male“XLR”-type con-
nector, usually found on the nether end ofwhat is called a “mic cable,” to connect to afemale XLR jack.
1⁄4" TRS PHONE PLUGS AND JACKS“TRS” stands
for Tip-Ring-Sleeve, thethreeconnectionsavailable on a“stereo” 1⁄4" or
“balanced” phone jack or plug. See Figure B.TRS jacks and plugs are used in severaldifferent applications:• Stereo Headphones, and rarely, stereo
microphones and stereo line connections.When wired for stereo, a 1⁄4" TRS jack orplug is connected tip to left, ring to right andsleeve to ground (earth). Mackie mixers donot directly accept 1-plug-type stereomicrophones. They must be separated into aleft cord and a right cord, which are pluggedinto the two mic preamps.You can cook up your own adapter for astereo microphone adapter. “Y” two cablesout of a female 1⁄4" TRS jack to two maleXLR plugs, one for the Right signal andone for the Left.
APPENDIX A: CONNECTIONS
• Balanced mono circuits. When wired as abalanced connector, a 1⁄4" TRS jack orplug is connected tip to signal high(hot), ring to signal low (cold), andsleeve to ground (earth).
• Unbalanced Send/Return circuits. Whenwired as send/return “Y” connector, a 1⁄4"TRS jack or plug is connected tip to signalsend (output from mixer), ring to signalreturn (input back into mixer), and sleeveto ground (earth).
1⁄4" TS PHONE PLUGS AND JACKS“TS” stands for Tip-Sleeve, the two connec-
tions available on a “mono” 1⁄4" phone jack orplug (Figure C). TS jacks and plugs are used inmany different applications, always unbalanced.The tip is connected to the audio signal and thesleeve to ground (earth). Some examples:• Unbalanced microphones• Electric guitars and electronic instruments• Unbalanced line-level connections
SWITCHED 1⁄4" PHONE JACKSSwitches can be incorporated into 1⁄4"
phone jacks, which are activated by insertingthe plug. These switches may open an insertloop in a circuit, change the input routing ofthe signal or serve other functions. Mackieuses switches in the channel insert and businsert jacks, input jacks and AUX returns. Wealso use these switches to ground the line-levelinputs when nothing is plugged into them.
In most cases, the plug must be inserted fullyto activate the switch. Mackie takes advantageof this in some circuits, specifying circum-stances where you are to insert the plug onlypartially. See Special Mackie Connections,later in this section.
SLEEVE
TIP
TIPSLEEVE
TIP
SLEEVE
Figure C: TS Plug
2
2
3 1
1
SHIELD
COLD
HOT
SHIELD
COLD
HOT
3
SHIELD
COLDHOT
3
2
1
Figure A: XLR Connectors
SLEEVE
TIPSLEEVE
TIP
RING
RING
TIP
SLEEVERING
Figure B: 1⁄4" TRS Plugs
31
SPECIAL MACKIE CONNECTIONSThe balanced-to-unbalanced connection has
been anticipated in the wiring of Mackie jacks.A 1⁄4" TS plug in-serted into a 1⁄4"TRS balanced in-put, for example,will automaticallyunbalance the in-put and make all the right connections.Conversely, a 1⁄4" TRS plug inserted into a 1⁄4"unbalanced input will automatically tie the ring(low or cold) to ground (earth).
TRS Send/Receive Insert JacksMackie’s single-jack inserts are the three-
conductor, TRS-type 1⁄4" phone. They areunbalanced, but have both the mixer output(send) and the mixer input (return) signals inone connector (See Figure F).
The sleeve is the common ground (earth) forboth signals. The send from the mixer to theexternal unit is carried on the tip, and the re-turn from the unit to the mixer is on the ring.
Using the Send Only on an Insert JackIf you insert a TS (mono) 1⁄4" plug only
partially (to the first click) into a Mackieinsert jack, the plug will not activate the jackswitch and will not open the insert loop in thecircuit (thereby allowing the channel signal tocontinue on its merry way through the mixer).
This allows you to tap out the channel orbus signal at that point in the circuit withoutinterrupting normal operation.
RCA PLUGS AND JACKSRCA-type plugs (also known as phono
plugs) and jacks are often used in home stereoand video equipment and in many other appli-cations (Figure D). They are unbalanced andelectrically identical to a 1⁄4" TS phone plug orjack (See Figure C). Connect the signal to thecenter post and the ground (earth) or shieldto the surrounding “basket.”
UNBALANCING A LINEIn most studio, stage and sound reinforce-
ment situations, there is a combination ofbalanced and unbalanced inputs and outputs onthe various pieces of equipment. This usuallywill 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 atthe unbalanced input. In most cases, thebalanced ground (earth) will also beconnected to the ground (earth) at theunbalanced input. If there are ground-loopproblems, this connection may be leftdisconnected at the balanced end.
• When connecting an unbalanced output to abalanced input, be sure that the signal high(hot) connections are wired to each other.The unbalanced ground (earth) connectionshould be wired to the low (cold) and theground (earth) connections of the balancedinput. If there are ground-loop problems, tryconnecting 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 equip-ment. For example, you may need a balancedXLR female connected to an unbalanced 1⁄4"TS phone plug.
Direct out with no signal interruption to master.Insert only to first “click.”
Channel Insert jack
Channel Insert jack
Channel Insert jack
Direct out with signal interruption to master.Insert all the way in to the second “click.”
For use as an effects loop.(TIP = SEND to effect, RING = RETURN from effect.)
MONO PLUG
MONO PLUG
STEREO PLUG
TIPSLEEVETIPSLEEVE
Figure D: RCA Plug
“tip”
This plug connects to one of the mixer’s Channel Insert jacks. “ring”
tipring
sleeve
SEND to processor
RETURN from processor
(TRS plug)
Figure F
Figure E
32
If you push the 1⁄4" TS plug in to the secondclick, you will open the jack switch and createa direct out, which does interrupt the signal inthat channel. See Figure E.
NOTE: Do not over-load or short-circuit thesignal you are tappingfrom the mixer. That willaffect the internal signal.
MACKIE STEREO INPUTS AND RETURNS:Mono, Stereo, Whatever
Stereo line inputs and stereo AUX returnsare a fine example of the Mackie philosophy(which we just made up) of Maximum Flex-ibility with Minimum Headache. The inputsand returns will automatically be mono orstereo, depending upon how you use the jacks.Here’s how it works:
A mono signal should be patched into theinput or return jack labeled Left (MONO). Thesignal will be routed to both the left and rightsides of the return circuit, and will show up inthe center of the stereo pair of buses it’sassigned to, or it can be “panned” with theBalance control.
A stereo signal, having two plugs, should bepatched into the LEFT (MONO) and theRIGHT input or return jacks. A jack switch inthe RIGHT jack will disable the mono func-tion, and the signals will show up in stereo.
A mono signal connected to the RIGHT jackwill show up in the right bus only. You probablywill only want to use this sophisticated effectfor special occasions (weddings, bar mitzvahs,Rush Limbaugh’s birthday party, etc.)
MULTS AND “Y”sA mult or “Y” connector allows you to route
one output to two or more inputs by simplyproviding parallel wiring connections. You canmake “Y”s and mults for the outputs of bothunbalanced and balanced circuits.
Remember: Only multor “Y” an output into sev-eral inputs. If you needto combine several out-puts into one input, you
must use a mixer, not a mult or a “Y.”
Y-cord splitter cable
TIP (SEND)
RING (IN)
TIP (OUT)
RING (RETURN)
TO MIXERCHANNEL INSERT
RING (RETURN)
TIP (SEND)
TO PROCESSOR
INPUT
FROM PROCESSOR
OUTPUT
Y-cord insert cable
33
U
OO
+15
U
OO
+15
U
+15
-15
U
+12
-12
U
+15
-15
LR
U +20
dB
OO
U +20
dB
OO
U +20
dB
OO
U +20
dBOO
U +20
dB
OO
U +20
dB
OO
U +20
dB
OO
U +20
dB
OO
U
OO
+15
U
OO
+15
U
+15
-15
U
+12
-12
U
+15
-15
LR
U
OO
+15
U
OO
+15
U
+15
-15
U
+12
-12
U
+15
-15
LR
U
OO
+15
U
OO
+15
U
+15
-15
U
+12
-12
U
+15
-15
LR
U
OO
+15
U
OO
+15
U
+15
-15
U
+12
-12
U
+15
-15
LR
U
OO
+15
U
OO
+15
U
+15
-15
U
+12
-12
U
+15
-15
LR
U
OO
+15
U
OO
+15
U
+15
-15
U
+12
-12
U
+15
-15
LR
U
OO
+15
U
OO
+15
U
+15
-15
U
+12
-12
U
+15
-15
LR
11 1
2M
UTE
9 10
MU
TE7
8M
UTE
5 6
MU
TE4
MU
TE3
MU
TE2
MU
TE1
MU
TE
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
EQAU
X
PAN
PRE
FAD
ERSO
LOPR
E FA
DER
SOLO
PRE
FAD
ERSO
LOPR
E FA
DER
SOLO
PRE
FAD
ERSO
LOPR
E FA
DER
SOLO
PRE
FAD
ERSO
LOPR
E FA
DER
SOLO
1 2
LIN
E IN
1LI
NE
IN 2
LIN
E IN
3LI
NE
IN 4
L
MO
NO
L
MO
NO
L
MO
NO
L
MO
NO
LIN
E IN
5-6R
RR
R
AU
X SE
ND
TAPE
INPU
TTA
PEO
UTP
UT
L R
1 2
1 2
RIG
HT
L R
RIG
HT
MIC
1M
IC 2
MIC
3M
IC 4
LEFT
LEFT
/ MO
NO
STER
EO A
UX
RETU
RNM
AIN
OU
T
BAL/
UN
BAL
LIN
E IN
7-8
LIN
E IN
9-1
0LI
NE
IN 1
1-12
GA
ING
AIN
GA
ING
AIN
GA
ING
AIN
GA
ING
AIN
ALT
3- 4
ALT
3- 4
ALT
3- 4
ALT
3- 4
ALT
3- 4
ALT
3- 4
ALT
3- 4
ALT
3- 4
BAL
OR
UN
BAL
BAL
OR
UN
BAL
BAL
OR
UN
BAL
BAL
OR
UN
BAL
BAL
OR
UN
BAL
BAL
OR
UN
BAL
BAL
OR
UN
BAL
BAL
OR
UN
BAL
ALL
BA
L/U
NB
AL
MO
N/
EFX
1M
ON
/E
FX
1M
ON
/E
FX
1M
ON
/E
FX
1M
ON
/E
FX
1M
ON
/E
FX
1M
ON
/E
FX
1M
ON
/E
FX
EFX
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
EQAU
X
PAN2 E
FX
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
EQAU
X
PAN2 E
FX
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
EQAU
X
PAN2 E
FX
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
EQAU
X
PAN2 E
FX
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
EQAU
X
PAN2 E
FX
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
EQAU
X
PAN2 E
FX
HI
12kH
z
MID
2.5k
Hz
LOW
80H
z
EQAU
X
PAN2 E
FX
NOTE
S:
Sess
ion:
Date
:
U
OO
+10
U
OO
+20
U
OO
+20
MA
X
OO
+10
dB
OO
POW
ER
AU
X 1
MA
STER
AU
XRE
TURN
1 2
MA
IN M
IX/S
UBM
IX
EFX
TOM
ON
ITO
R
NO
RMA
LLED
PRE
POST
AU
X 1
SELE
CT
CTL
RO
OM
UU
LOW
CU
T75
Hz
18dB
/OC
T
TRIM
+15d
B-4
5dB
MIC
GA
IN
0
U
60
-10d
BV
LOW
CU
T75
Hz
18dB
/OC
T
TRIM
+15d
B-4
5dB
MIC
GA
IN
0
U
60
-10d
BV
LOW
CU
T75
Hz
18dB
/OC
T
TRIM
+15d
B-4
5dB
MIC
GA
IN
0
U
60
-10d
BV
LOW
CU
T75
Hz
18dB
/OC
T
TRIM
+15d
B-4
5dB
MIC
GA
IN
0
U
60
-10d
BV
RU
DE
SOLO
LIG
HT
LEV
EL
SET
CO
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OL
RO
OM
SOU
RC
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ALT
3– 4
TAPE
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IN M
IX
CLI
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LEFT
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HT
0dB
=0d
Bu
ASS
IGN
TO M
AIN
MIX
28 10 7 4 2 0 2 4 7 10 20 30
1202
-VLZ
PRO
12-C
HA
NN
EL M
IC/L
INE
MIX
ERW
ITH
PRE
MIU
M X
DR
TM M
IC P
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MPL
IFIE
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RM
ICPR
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34
COLOPHON(Roll credits please) Manual written by Jeff
Gilbert, based on a vignette by Ron Koliha,with tidbits borrowed from almost everywhere.Manual then defaced with proofreading pensin the hands of Mackie’s legendary Tech Sup-port staff. Manual composed on a rinky-dinkPC using a low-budget word processor, thenconverted to this amazing piece of work usinga 13-story 1000 gigawhopper Macintosh oper-ated by Mackie’s notorious Advertising staff(most notably Becky Priebe). Please, feel freeto let us know if you find an error or stumbleover a confusing paragraph. Thank you forreading the entire manual (we know you have,or you wouldn’t be here).
Mackie, the "Running Man" figure, VLZ and XDR are trademarks or registered trademarks ofMackie Designs Inc. Other brand names mentioned are trademarks or registered trademarks oftheir respective holders and are hereby acknowledged.
© 2003 Mackie Designs Inc.All Rights Reserved.
35
1202-VLZ PRO LIMITED WARRANTY
3. Make sure that the problem can be dupli-cated. If you bring your product to an AuthorizedService Center and they can’t find anythingwrong with it, you may be charged a service fee.4. If the Mackie Authorized Service Center islocated in another city, pack the product in itsoriginal shipping carton. More information onpacking can be found in the Service section ofthis manual.5. Contact the Mackie Authorized Service Centerto arrange service or bring the product to them.
F. Mackie and Mackie Authorized Service Centersreserve the right to inspect any products that maybe the subject of any warranty claims before repairor replacement is carried out. Mackie and MackieAuthorized Service Centers may, at their option, re-quire proof of the original date of purchase in theform of a dated copy of the original dealer’s invoiceor sales receipt. Final determination of warranty cov-erage lies solely with Mackie Designs Inc. or itsAuthorized Service Centers.G. Any Mackie product deemed eligible for repair orreplacement under the terms of this warranty will berepaired or replaced within thirty days of receipt byMackie. Mackie may use refurbished parts for repairor replacement of any product. Products returned toMackie that do not meet the terms of this Warrantywill be repaired and returned C.O.D. with billing forlabor, materials, return freight, and insurance. Prod-ucts repaired under warranty at Mackie’s factory willbe returned freight prepaid by Mackie to any locationwithin the boundaries of the USA.H. Mackie warrants all repairs performed for 90 daysor for the remainder of the original warranty period.Mackie assumes no responsibility for the quality ortimeliness of repairs performed by Mackie AuthorizedService Centers.I. This warranty is extended to the original purchaserand to anyone who may subsequently purchase thisproduct within the applicable warranty period.J. This is your sole warranty. Mackie does not authorizeany third party, including any dealer or sales represen-tative, to assume any liability on behalf of MackieDesigns or to make any warranty for Mackie Designs.K. THE WARRANTY GIVEN ON THIS PAGE ISTHE SOLE WARRANTY GIVEN BY MACKIE ANDIS IN LIEU OF ALL OTHER WARRANTIES,EXPRESS AND IMPLIED, INCLUDING THEWARRANTIES OF MERCHANTABILITY ANDFITNESS FOR A PARTICULAR PURPOSE. THEWARRANTY GIVEN ON THIS PAGE SHALL BESTRICTLY LIMITED IN DURATION TO ONEYEAR FROM THE DATE OF ORIGINAL PUR-CHASE FROM AN AUTHORIZED MACKIEDEALER. UPON EXPIRATION OF THE APPLI-CABLE WARRANTY PERIOD, MACKIE SHALLHAVE NO FURTHER WARRANTY OBLIGATIONOF ANY KIND. MACKIE SHALL NOT BE LIABLEFOR ANY INCIDENTAL, SPECIAL, OR CONSE-QUENTIAL DAMAGES THAT MAY RESULTFROM ANY DEFECT IN THE MACKIE PROD-UCT OR ANY WARRANTY CLAIM. Some statesdo not allow exclusion or limitation of incidental,special, or consequential damages or a limitationon how long warranties last, so some of the abovelimitations and exclusions may not apply to you.This warranty provides specific legal rights and youmay have other rights which vary from state to state.
Please keep your sales receipt in a safe place.
A. Mackie warrants all materials, workmanship andproper operation of this product for a period of threeyears from the original date of purchase. If any de-fects are found in the materials or workmanship or ifthe product fails to function properly during the ap-plicable warranty period, Mackie, at its option, willrepair or replace the product. Labor for replacing allpotentiometers and switches is covered for the firstyear, after which it is excluded from warranty cover-age and may be billed to you. This warranty appliesonly to equipment sold and delivered within theU.S. by Mackie or its authorized dealers.B. Failure to register online or return the productregistration card will not void the 3-year warranty.C. Service and repairs of Mackie products are to beperformed only at the factory (see D below) OR at anAuthorized Mackie Service Center (see E below).Unauthorized service, repairs, or modification willvoid this warranty.D. To obtain factory service:
1. Call Mackie at 800/258-6883, 8AM to 5PMMonday through Friday (Pacific Time) to get aReturn Authorization (RA). Products returnedwithout an RA number will be refused.2. Pack the product in its original shipping car-ton. If you do not have the carton, just ask forone when you get your RA number, and we’llsend a shipping carton out promptly. More infor-mation on packing can be found in the Servicesection of this manual. Do not use “packing pea-nuts,” shredded newspapers, or other materialwith small particles, old underwear, or socks.Please seal the Mackie product in a plastic bag.3. Also include a note explaining exactly how toduplicate the problem, a copy of the sales receiptwith price and date showing, and your returnstreet address (no P.O. boxes or route numbers,please!). If we cannot duplicate the problem atthe Mackie Factory or establish the starting dateof your Limited Warranty, we may, at our option,charge for service time.4. Ship the product in its original shipping car-ton, freight prepaid to:
Mackie DesignsService Department
16220 Wood-Red Rd. NEWoodinville, WA 98072 USA
IMPORTANT: Make sure that the RA number isplainly written on the shipping carton.E. To obtain service from an Authorized Mackie Ser-vice Center:
1. Call Mackie at 800/258-6883, 8AM to 5PMMonday through Friday (Pacific Time) to get:1) The name and address of your nearest MackieAuthorized Service Center and 2) A return au-thorization (RA). You must have an RA numberbefore taking your unit to a service center.2. Make sure that you have a copy of yourproduct’s sales receipt from the store where youbought the product. It is necessary to establishpurchase date and thus determine whether ornot your product is still under warranty. If youcan’t find it, the Authorized Service Center maycharge you for repairs even if your product is stillcovered by Mackie’s 3-Year Limited Warranty.
Mackie Designs Inc.16220 Wood-Red Road NE • Woodinville, WA 98071 • USA
US 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]