MACKIE 1202-VLZ3 - Manual (Page 8)

8
10-VLZ3
1202-
VLZ3
Patchbay Description
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level instruments
and effects, headphones, and the ultimate destination
for your sound: a tape recorder, PA system, etc.
See Appendix B for further details and drawings of
the connectors you can use with the 1202-VLZ3. Also see
the Channel Strip description on page 13 for details of
the signal routing from the XLR and Line inputs.
1. MIC INPUTS (Channels 1–4)
We use phantom-powered, balanced microphone
inputs just like the big studio mega-consoles, for exactly
the same reason: This kind of circuit is excellent at re-
jecting hum and noise. You can plug in almost any kind
of mic that has a standard XLR male mic connector.
Professional ribbon, dynamic, and condenser mics
will all sound excellent through these inputs. The
1202-VLZ3’s mic inputs will handle any kind of mic level
you can toss at them, without overloading. Be sure to
perform the Level-Setting Procedure on page 3.
Not every instrument is made to connect directly to a
mixer. Guitars commonly need a Direct Injection (DI)
box to connect to the mixer's MIC inputs. These boxes
convert unbalanced line-level signals from your guitar,
into balanced mic-level outputs, and provide signal and
impedance matching. They also let you send your gifted
guitar renditions over long cables or audio snakes, with
minimum interference and high-frequency signal loss.
Ask your dealer or guitar maker about their recommen-
dations for a good DI box.
PHANTOM POWER
Most modern professional condenser mics are
equipped for phantom power, which lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics often have batteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
be “unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need external power and aren’t
affected by it anyway.
The 1202-VLZ3’s phantom power is globally controlled
by the PHANTOM [22] switch on the rear panel. (This
means the phantom power for channels 1-4 is turned on
and off together.)
Never plug single-ended (unbalanced) micro-
phones or instruments into the MIC [1] input
jacks if the phantom power is on.
Do not plug instrument outputs into the MIC
input jacks with phantom power on, unless
you know for certain it is safe to do so.
2. LINE INPUTS (Channels 1–4)
These four line-inputs share circuitry (but not phan-
tom power) with the mic preamps, and can be driven
by balanced or unbalanced sources at almost any level.
You can use these inputs for virtually any signal you’ll
come across, from instrument levels as low as –40 dB to
operating levels of –10 dBV to +4 dBu, since there is 40
dB more gain available than on channels 5–12.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, the type found on stereo
headphones.
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug or standard instrument
cable.
The LINE IN inputs 1–4 are a good place to connect
older instruments that need more gain. You can correct
weak levels by adjusting the corresponding channel’s
GAIN control.
POWER
ON
PHANTOM
ON
L MAIN
MAIN
OUTPUT
LEVEL
4 3 R/4 L/3
CHANNEL INSERT
BAL/UNBAL BALANCED BAL/UNBAL
ALT
OUTPUT
R L
CONTROL
ROOM
SERIAL NUMBER MANUFACTURING DATE
RISK OF ELECTRIC SHOCK
DO NOT OPEN
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
CAUTION
AVIS:
RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
2 1
( PRE-FADER / PRE EQ TIP SEND / RING RETURN )
XDR TM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
-10
dBV
GAIN
+15dB -45dB
M IC GAIN
0
U
60
LINE IN 1
MIC 1
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
LINE IN 2
MIC 2
BAL
OR
UNBAL
LINE IN 3
MIC 3
BAL
OR
UNBAL
LINE IN 4
MIC 4
BAL
OR
UNBAL
AUX SEND
1
2
1
2
R
R L
L / MONO ALL BAL/UNBAL TAPE
INPUT
TAPE
OUTPUT L
R
L
R
L
R
MAIN OUT
BAL/UNBAL
L
MONO MONO MONO MONO
LINE IN 5–6
R
LINE IN 7–8 LINE IN 9–10 LINE IN 11–12
BAL
OR
UNBAL
L
R
BAL
OR
UNBAL
L
R
BAL
OR
UNBAL
L
R
BAL
OR
UNBAL
XDR MIC PRE XDR MIC PRE XDR MIC PRE XDR MIC PRE
GAIN
+15dB -45dB
M IC GAIN
0
U
60
-10
dBV
GAIN
+15dB-45dB
M IC GAIN
0
U
60
-10
dBV
GAIN
+15dB -45dB
M IC GAIN
0
U
60
-10
dBV
O O +15
O O +15
AUX
+15 -15
+15 -15
+15 -15
HI
12kHz
MID
2.5kHz
LOW
80Hz
HI
12kHz
MID
2.5kHz
LOW
80Hz
HI
12kHz
MID
2.5kHz
LOW
80Hz
HI
12kHz
MID
2.5kHz
LOW
80Hz
HI
12kHz
MID
2.5kHz
LOW
80Hz
HI
12kHz
MID
2.5kHz
LOW
80Hz
HI
12kHz
MID
2.5kHz
LOW
80Hz
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
L R
1
MUTE
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
AUX
EQ
PAN
ALT 3–4
MUTE
ALT 3–4
MUTE
ALT 3–4
MUTE
ALT 3–4
MUTE
ALT 3–4
MUTE
ALT 3–4
MUTE
ALT 3–4
MUTE
ALT 3–4
PRE FADER
SOLO
LEVEL
2
PRE FADER
SOLO
LEVEL
3
PRE FADER
SOLO
LEVEL
4
PRE FADER
SOLO
LEVEL
5/6
PRE FADER
SOLO
LEVEL
7/8
PRE FADER
SOLO
LEVEL
9/10
PRE FADER
SOLO
LEVEL
11/12
PRE FADER
SOLO
LEVEL
POWER
RUDE
SOLO
LIGHT
LEVEL
SET
CONTROL
ROOM
SOURCE
ALT 3–4
TAPE
MAIN MIX
CLIP
LEFT RIGHT
0dB=0dBu
ASSIGN
TO MAIN MIX
MAIN MIX /SUBMIX CTL ROOM
+12dB O O
U
+12dB O O
U
+12dB O O
U
+12dB O O
U
+12dB O O
U
+12dB O O
U
+12dB O O
U
+12dB O O
U
MAX O O
U
+12dB O O
U
U
U
O O +15
O O +15
U
U
O O +15
O O +15
U
U
O O +15
O O +15
U
U
U
U
U
+15 -15
+15 -15
+15 -15
L R
U
U
U
+15 -15
+15 -15
+15 -15
L R
U
U
U
+15 -15
+15 -15
+15 -15
L R
U
U
U
+15 -15
+15 -15
+15 -15
L R
U
U
U
+15 -15
+15 -15
+15 -15
L R
U
U
U
+15 -15
+15 -15
+15 -15
L R
U
U
U
+15 -15
+15 -15
+15 -15
L R
U
U
U
O O +15
O O +15
U
U
O O +15
O O +15
U
U
O O +15
O O +15
U
U
O O +15
O O +15
U
U
20
10
7
4
2
0
2
4
7
10
20
30
1
2
3
4
5 5 5 5