The Mackie VLZ3 series are the latest in the popular VLZ line of small format mixing consoles. The VLZ3 is an improvement on the favored design with enhanced XDR2 microphone preamplifiers an ultra quiet mix bus with improved headroom and a new look. The 1202-VLZ3 features twelve balanced line inputs four high quality XDR2 mic preamps four insert points (mono channels 1-4) and ALT 3-4 outputs which give users alternatives from routing signal to the stereo Main Out. Using the ALT 3-4 and Main outp... Read more
Part Numbers: 0018452-00, 1202-VLZ 3, 1202-VLZ-3, 1202-VLZ3, 1202-vlz3, 1202VLZ3, 1202VLZIII, 1202vlz3, VDMA1202VLZ3
UPC: 00663961009781, 0663961009781, 663961009781
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Mackie 1202VLZ, size: 1.6 MB
Making the New Album: Episode 1
User reviews and opinions
|taltamir||9:44pm on Monday, October 18th, 2010|
|"Great addition to my little studio! The function and adaptability and versatility is terrific. Big plus with me is always user friendliness...|
|royaparker||3:15am on Wednesday, August 4th, 2010|
|"my dad loves these things so he got me this to play with with my "band" and its amazing but its way to small" to small|
Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.
MICROSERIES1202-VLZ MIC/LINE MIXER OWNERS MANUAL
RISK OF ELECTRIC SHOCK DO NOT OPEN
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.
LOW NOISE HIGH HEADROOM 12-CHANNEL MIC/LINE MIXER
AVIS: RISCQUE DE CHOC LECTRIQUE NE PAS OUVRIR
UTILISE UN FUSIBLE DE RECHANGE DE MME TYPE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
REPLACE WITH THE SAME TYPE FUSE AND RATING. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
CONTROL ROOM R
ALT OUTPUT L R
( PRE-FADER / PRE EQ TIP SEND / RING RETURN)
CHANNEL INSERTS 2 3
120 VAC 50/60 Hz 20W 315mA/250V SLO-BLO
TO REDUCE THE RISK OF FIRE REPLACE WITH SAME TYPE FUSE AND RATING
MAIN OUTPUT LEVEL
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC. WOODINVILLE WASHINGTON MADE IN USA
MICRO SERIES 1202-VLZ
12-CHANNEL MIC/LINE MIXER
2 R TAPE INPUT TAPE OUTPUT
BAL OR UNBAL
STEREO AUX RETURNS
LINE IN 1
LOW CUT 75 Hz 18dB/OCT
-10 C GAIN MI
LINE IN 2
LINE IN 3
LINE IN 4
U 10 +10dB 60 -40dB
R TRIM LINE IN 5-6 LINE IN 7-8
R LINE IN 9-10
R LINE IN 11-12 PHONES
MON/ EFX +15
AUX 1 MASTER
AUX 1 SELECT EFX TO MONITOR
POWER LEFT RIGHT
+28 CLIP 0dB=0dBu
+10 +7 +4
80Hz -15 +15 -15 +15
80Hz -15 +15
-2 -4 -7 LEVEL SET
ASSIGN TO MAIN MIX
-10 -20 -30
RUDE SOLO LIGHT U BAL
10. Damage Requiring Service This Mackie product should be serviced only 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 Mackie product; or C. This Mackie product has been exposed to rain; or D. This Mackie product does not appear to operate normally or exhibits a marked change in performance; or E. This Mackie product has been dropped, or its chassis damaged. 11. Servicing The user should not attempt to service this Mackie product beyond those means described in this operating manual. All other servicing should be referred to the Mackie Service Department. 12. To prevent electric shock, do not use this polarized plug with an extension cord, receptacle or other outlet unless the blades can be fully inserted to prevent blade exposure.
RISK OF ELECTRIC SHOCK DO NOT OPEN RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) NO USER-SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE. AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons. Le symbole clair avec point de flche l'intrieur d'un triangle quilatral est utilis pour alerter l'utilisateur de la prsence l'intrieur du coffret de "voltage dangereux" non isol d'ampleur suffisante pour constituer un risque d'lctrocution. 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 l'intrieur d'un triangle quilatral est employ pour alerter les utilisateurs de la prsence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.
1. Read Instructions All the safety and operation instructions should be read before this Mackie product is operated. 2. Retain Instructions The safety and operating instructions should be kept for future reference. 3. Heed Warnings All warnings on this Mackie product and in these operating instructions should be followed. 4. Follow Instructions All operating and other instructions should be followed. 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 wet basement, near a swimming pool, swamp or salivating St. Bernard dog, etc. 6. Heat This Mackie product should be situated away from heat sources such as radiators, or other devices which produce heat. 7. Power Sources This Mackie product should be connected to a power supply only of the type described in these operation instructions or as marked on this Mackie product. 8. Power Cord Protection Power supply cords should be routed so that they are not likely to be walked upon or pinched by items placed upon or against them, paying particular attention to cords at plugs, convenience receptacles, and the point where they exit this Mackie product. 9. Object and Liquid Entry Care should be taken so that objects do not fall into and liquids are not spilled into the inside of this Mackie product.
Pour prevenir les chocs lectriques ne pas utiliser cette fiche polarise avec un prolongateur, un prise de courant ou une autre sortie de courant, sauf si les lames peuvent tre insres fond sans laisser aucune pariie dcouvert.
13. Grounding or Polarization Precautions should be taken so that the grounding or polarization means of this Mackie product is not defeated. 14. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.
ATTENTION Le prsent appareil numrique nmet pas de bruits radiolectriques dpassant las limites applicables aux appareils numriques de class A/de class B (selon le cas) prescrites dans le rglement sur le brouillage radiolectrique dict par les ministere des communications du Canada.
15. To prevent hazard or damage, ensure that only microphone cables and microphones designed to IEC 268-15A are connected. WARNING To reduce the risk of fire or electric shock, do not expose this appliance to rain or moisture.
7. 8. 9. 10.
Please write your serial number here for future reference (i.e. insurance claims, tech support, return authorization, etc.):
Date of Purchase:
Part No. 820-028-00 Rev. C 3/Mackie Designs Inc., All Rights Reserved. Printed in the U.S.A.
Thank you! There are a lot of makes and models of compact mixers out there, all competing for your bucks but you have voted with your wallet for the folks in Woodinville who specialize in American-made mixers. Now that you have your MicroSeries 1202-VLZ, find out how to get the most from it. Thats where this manual comes in. Youll also find cross-references to these numbered features within a paragraph. For instance, if you see To wire your own cables: , simply find that number in the manual and youve found your answer. Finally, youll notice feature numbers like this:. These numbers direct you to relevant information. This icon marks information that is critically important or unique to the MS1202-VLZ. For your own good, read them and remember them. They will be on the final test. And the final test score will go down on your Permanent Record. This icon will lead you to in-depth explanations of features and practical tips. While not mandatory, they usually have some valuable nugget of information.
HOW TO USE THIS MANUAL
Since many of you folks will want to hook up your MS1202-VLZ immediately, the first pages you will encounter after the table of contents are the ever popular hookup diagrams. These show typical mixer setups for Record/Mixdown, Video, Disc Jockey and Stereo PA. After this section is a detailed tour of the entire mixer. Every feature of the MS1202-VLZ is described geographically; in other words, in order of where it is physically placed on the mixers top or rear panel. These descriptions are divided into the first three manual chapters, just as your mixer is organized 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 youll find illustrations, with each feature numbered. If youre curious about a feature, simply locate it on the appropriate illustration, notice the number attached to it, and find that number in the nearby paragraphs.
MIC 1 MIC 2 MIC 3 MIC 4
ALL BAL/UNBAL BAL/UNBAL
THE GLOSSARY: A HAVEN OF NON-TECHINESS FOR THE NEOPHYTE
+15 +10 +5
15 20Hz 100Hz 1kHz 10kHz 20kHz
STEREO LINE INPUTS (Channels 56, 78, 910 and 1112)
These fully balanced inputs are designed for stereo or mono, balanced or unbalanced signals, from 10dBV to +4dBu. They can be used with just about any professional or semipro instrument, effect or tape player. To learn how signals are routed from these inputs:. To wire your own cables:. In the stereo audio world, an odd-numbered channel usually receives the left signal. For example, you would feed the MS1202-VLZs line inputs 5-6 a stereo signal by inserting the devices left output plug into the channel 5 jack, and its right output plug into the channel 6 jack. When connecting a mono device (just one cord), always use the LEFT (MONO) input (LINE IN jacks 5, 7, 9 or 11) and plug nothing into the RIGHT input (LINE IN jacks 6, 8, 10 or 12) this way the signal will appear on both sides. This trick is called jack normalling.
EFFECTS: SERIAL OR PARALLEL?
The next two sections toss the terms serial and parallel around like hacky sacks. Heres what we mean by them. Serial means that the entire signal is routed through the effects device. Examples: compressor/limiters, graphic equalizers. Linelevel sources can be patched through a serial effects device before or after the mixer, or preferably through the insert jacks located on the rear panel (CHANNEL INSERT send/return). Parallel means that a portion of the signal in the mixer is tapped off to the device (AUX SEND), processed and returned to the mixer (STEREO AUX RETURN) to be mixed with the original dry signal. This way, multiple channels can all make use of the same effects device. Examples: reverb, digital delay. (See diagrams below.)
Insert Send Dry Signal
Insert Return Signal Processor (e.g., Compressor) Processed Signal
Aux Send Signal Processor (e.g., Reverb)
Aux Return Wet Signal
Channel Path Dry Signal(s) Dry Signal(s)
CHANNEL INSERT (Channels 14 )
These jacks, on the back of the MicroSeries 1202-VLZ, are where you connect serial effects such as compressors, equalizers, deessers, or filters. Since most people dont have more than a few of these gadgets, weve included inserts for just the first four channels. If you want to use this kind of processing on channels 5 through 12, simply patch through the processor before you plug into the MS1202-VLZ. The CHANNEL INSERT points are after the TRIM and LOW CUT controls, but before the channels EQ and GAIN controls. The send (tip) is low-impedance (120 ohms), capable of driving any line-level device. The return (ring) is high-impedance (over 2.5k ohms) and can be driven by almost any device. Insert cables must be wired thusly:
RING SLEEVE SLEEVE RIGHT LEFT
These 14" jacks are balanced outputs capable of delivering 22dBu into a balanced or unbalanced load. To learn how signals are routed to these outputs:. To wire your own cables:.
These 14" jacks are balanced outputs capable of delivering 22dBu into a 600 ohm balanced or unbalanced load. To learn how signals are routed to these outputs:. To wire your own cables:.
RIGHT LEFT SLEEVE Tip = Left channel Ring = Right channel Sleeve = Common ground WARNING: When we say the headphone amp is loud, were not kidding. It can cause permanent ear damage. Even intermediate levels may be painfully loud with some earphones. BE CAREFUL! Always turn the PHONES knob all the way down before connecting headphones. Keep it down until youve put the phones on. Then turn it up slowly. Why? Engineers who fry their ears find themselves with short careers.
AUX SEND 1&2
These 14" jacks are also balanced outputs capable of delivering 22dBu into a 600 ohm balanced or unbalanced load. To learn how signals are routed to these outputs:. To wire your own cables:.
Just in case you lose the cord provided with the MS1202-VLZ, its power jack accepts a standard 3-prong IEC cord like those found on most professional recorders, musical instruments, and computers. At the other end of our cord is get this a plug! Not a black cube or, as were fond of calling them, a wall wart. We did this for some very good reasons: The MS1202-VLZ has sophisticated power requirements that a wall wart cannot provide. Wall warts are inconvenient, fragile, radiate huge hum fields, hog extra jacks on your power strip and get in the way. If you lose a wall wart, youre in trouble, but if you lose the MS1202-VLZs power cord, you can get a new one at any electronics, music, or computer store. You can even buy them at Radio Shack (part # 278-1257). Can you tell that we hate wall warts? Plug the MS1202-VLZ into any standard grounded AC outlet or into a power strip of proper voltage. WARNING: Disconnecting the plugs ground pin can be dangerous. Please dont do it.
The MS1202-VLZ 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) and replace the fuse with a 500mA (0.5 amps) SLO BLO 5x20mm, available at electronics stores or your dealer (or a 250mA SLO BLO 5x20mm if your MS1202-VLZ is a 220V240V unit). If two fuses blow in a row, something is very wrong. Please call our toll-free number 1-800-258-6883 from within the U.S. (or the distributor in your country) and find out what to do.
These tap a portion of each channel signal out to another source for parallel effects processing or stage monitoring. AUX send levels are controlled by the channels AUX 1 and AUX 2 knobs and by the AUX 1 MASTER. These are more than just effects and monitor sends. They can be used to generate separate mixes for recording or mix-minuses for broadcast. By using AUX 1 in the PRE mode , these mix levels can be obtained independently of the channels GAIN control. AUX 1 in post mode and AUX 2 are postLOW 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 LOW CUT settings only. PAN and GAIN have no effect on the PRE send (see diagram below). Each AUX send level ranges from off through unity (the center detent position) on up to 15dB of extra gain (when turned fully clockwise). Chances are youll never need this extra gain, but its nice to know its there if you do. Channel 512 AUX pots control the mono sum of the channels stereo signals for each AUX send. For instance, channel 5 (L) and 6 (R) mix together to feed that channels AUX send knobs. We recommend going into a stereo reverb in mono and returning in stereo. We have found that on most stereo reverbs the second input just ties up an extra AUX send and adds nothing to the sound. There are exceptions, so feel free to try it both ways. If your effects device is true stereo all the way through, use AUX 1 to feed its left input and AUX 2 to feed the right input. Still with us? Good for you. Here come the tricky parts, where the mixing is really done.
Low EQ with Low Cut
Short for midrange, this knob provides 12dB of boost or cut, centered at 2.5kHz, also flat at the center detent. Midrange EQ is often thought of as the most dynamic, because the frequencies that define any particular sound are almost always found in this range. You can create many interesting and useful EQ changes by turning this knob down as well as up. HI EQ This control gives you up to 15dB boost or cut at 12kHz, and it is also flat at the detent. Use it to add sizzle to cymbals, and an overall sense of transparency, or edge to keyboards, vocals, guitar and bacon frying. Turn it down a little to reduce sibilance, or to hide tape hiss. Moderation during EQ
The AUX 1 MASTER provides overall level control of AUX SEND 1, just before its delivered to the AUX SEND 1 output. (AUX SEND 2 has no such control.) This knob goes from off (turned fully down), to unity gain at the center detent, with 10dB of extra gain (turned fully up). As with some other level controls, you may never need the additional gain, but if you ever do, youll be glad you bought a Mackie. This is usually the knob you turn up when the lead singer glares at you, points at his stage monitor, and sticks his thumb up in the air. (It would follow suit that if the singer stuck his thumb down, youd turn the knob down but that never happens.)
These two controls set the overall level of effects received from STEREO AUX RETURN inputs 1 and 2. These controls are designed to handle a wide range of signal levels, from off, to unity gain at the detent, with 20dB gain fully clockwise, to compensate for low-level effects. Typically, these knobs can just live at the center detent, and the effects devices output control should be set at whatever they call unity gain (check their manual). If that turns out to be too loud or too quiet, adjust the effects devices outputs, not the mixer. That way, the mixers knobs are easy to relocate at the center detent. Signals passing through the AUX RETURN level controls will proceed directly to MAIN MIX , with one exception (see next paragraph). The AUX RETURNs do not have MUTE/ALT 3-4 switches, so if you want these signals to get to the ALT 3-4 mix, youll have to patch the effects devices outputs into one of the stereo channels , and MUTE/ALT those channels.
Jack normalling (not to be confused with Jack Normalling, Chicago Cubs utility infielder, 1952-61,.267 LBA) is a feature found on almost every mixer, keyboard and effects device. These jacks have special spring-loaded pins that connect to the signal pins, but when something is plugged into the jack, that connection is broken. These normalling pins can be used in all sorts of ways. The ubiquitous phrase LEFT (MONO) means that if you plug a signal into the LEFT side and have nothing in the RIGHT side, that signal is also fed to the right input, courtesy of jack normalling. As soon as you plug something in the RIGHT side, that normalled connection is broken. How does all this relate to the EFX TO MONITOR switch? AUX RETURN 1s inputs are normalled to AUX RETURN 2. If you have one effects device, plug it into AUX RETURN 1. Plug nothing into AUX RETURN 2. Now the signals feeding the AUX RETURN 1 inputs will also be sent to the AUX RETURN 2 inputs. Engage the EFX TO MONITOR switch, and now the AUX RETURN 2 knob will become an additional AUX SEND 1 knob for the signal at AUX RETURN 1. Say that ten times! Once again, AUX RETURN 1 will behave normally, as always. Congratulations! Youve just read about all the features of your MS1202-VLZ. Youre probably ready for a cold one. Go ahead. The rest of the manual can wait.
1. Remove all cords, including the power cable, from the MS1202-VLZ. 2. Place the mixer upside-down on a dry, nonmarring surface. 3. Remove the screws that attach the bottom cover. Keep track of what screws go where. Remove the bottom cover. 4. Using a sharp X-acto type knife, cut the conductor at points XL and XR. Be careful to cut all the way through the conductor, and do not cut any nearby traces. 5. Add a jumper from point YL to the square pad at point XL and from point YR to the square pad at point XR. 6. Check your work very carefully, then put the bottom cover back the way you found it. Youre done!
#3: Main Mix Source Mod
ALT R ALT L MAIN R MAIN L
INSERT GAIN MAIN / ALT LINE OUT L 2 BAL OUT L 3 3-BAND EQ MAIN MIX 30dB PAD 2 BAL OUT R 3 3-BAND EQ
LO MID HI LO MID HI
TAPE OUT L
AUX SEND 2 POST AUX SEND 1 POST AUX SEND 1 PRE
1 75Hz HPF
80 2K5 12K
2 LO CUT 1
3 MAIN LEVEL
LINE IN AUX SENDS SOLO (PFL) ALT MIX MAIN / ALT ALT OUT L
MONO CHANNEL (1 OF 4)
1 LINE OUT R
LINE IN L
TAPE OUT R
STEREO CHANNEL (1 OF 4) GAIN PAN
LO 80 2K5 12K MID HI
ALT OUT R
METERING (0dBu = 0VU) AUX 2 TAPE IN +6dB L TAPE R ALT SOURCE
LINE IN R
RUDE SOLO LED CONTROL ROOM & PHONES MIX MAIN
MS1202-VLZ BLOCK DIAGRAM
AUX 1 SOLO (PFL)
CONTROL ROOM & PHONES LEVEL
L IN (MONO) SOLO RELAY AUX RETURN 1 GAIN SOLO MIX R IN ASSIGN TO MAIN L IN AUX 1 PRE / POST GAIN AUX 1 LEVEL R IN AUX MIX AUX SEND 1 EFX TO MONITOR AUX SEND 2 RIGHT CONTROL ROOM OUT PHONES OUT LEFT AUX RETURN 2
(MS-0808.VSD) Version 2.0 3/97
MACKIE MS1202-VLZ BLOCK DIAGRAM
+15dB up +12dB up +10dB up 'B' to 'C' 'C' -4dB center 0dB MID -12dB down -15dB down HIGH to 'A' -15dB down 'A' LOW +6dB XLR OUT +15db up +20dB up EQ PAN LEVEL MAIN MIX CHANNEL GAIN MIX OUTPUTS +22dBu max out +16dBu max TAPE IN +10dB up 0dB to 'A' 'D' TAPE IN 6dB Boost SOURCE Matrix CONTROL ROOM / PHONES C-R/PHONES MIX C-R/PHONES LEVEL OUTPUT MAIN MIX, ALT 3-4 +22dBu max out +15dB up to 'A' From 'B' Channel AUX SEND AUX MIX AUX SEND Master AUX SEND +10dB up 0dB OUTPUT INPUT LEVEL AUX RETURN 0dB +22dBu max in +20dB up
+28dBu max out (XLR) +22dBu max out (1/4" & RCA)
+14dBu max in
10dB gain, TRIM down
to 'D' 0dB 1/4" Out and RCA Tape Out -30dB XLR OUT, PAD engaged
60dB gain, TRIM up
MIC IN, Channels 1-4
+22dBu max in
APPENDIX A: GLOSSARY
This Glossary contains brief definitions of many of the audio and electronic terms used in discussions of sound mixing and recording. Many of the terms have other meanings or nuances or very rigorous technical definitions which we have sidestepped here because we figure you already have a lot on your mind. If youd like to get more information, you can call Mix Bookshelf at 1-800-233-9604. We recommend the following titles: The Audio Dictionary, by Glenn White; Tech Terms, by Peterson & Oppenheimer; Handbook for Sound Engineers, by Glen Ballou, Mackie Mixer Book by Rudy Trubitt and Sound Reinforcement Handbook, by Gary Davis.
The band of frequencies that pass through a device with a loss of less than 3dB, expressed in Hertz or in musical octaves. Also see Q.
An electrical connection common to three or more circuits. In mixer design, a bus usually carries signals from a number of inputs to a mixing amplifier, just like a city bus carries people from a number of neighborhoods to their jobs.
A manufacturer of electrical connectors who first popularized the three-pin connector now used universally for balanced microphone connections. In sound work, a Cannon connector is taken to mean a Cannon XLR-3 mic connector or any compatible connector.
An acronym for After Fade Listen, which is another way of saying post-fader solo function.
In sound mixers, assign means to switch or route a signal to a particular signal path or combination of signal paths.
Means heart-shaped. In sound work, cardioid refers to the shape of the sensitivity pattern of some directional microphones.
To reduce or make quieter.
A functional path in an audio circuit: an input channel, an output channel, a recording channel, the left channel and so on.
See next entry.
In sound mixers, supplemental equipment or features that provide additional capabilities to the basic system. Examples of auxiliary equipment include: serial processors (equalizers, compressors, limiters, gates) and parallel devices (reverberation and delay). Most mixers have aux send buses and aux return inputs to accommodate auxiliary equipment.
The physical representation of an audio channel on the front panel of a mixer; usually a long, vertical strip of controls.
An effect available in some digital delay effects units and reverbs. Chorusing involves a number of moving delays and pitch shifting, usually panned across a stereo field. Depending on how used, it can be lovely or grotesque.
In a classic balanced audio circuit, the two legs of the circuit (+ and ) are isolated from the circuit ground by exactly the same impedance. Additionally, each leg may carry the signal at exactly the same level but with opposite polarity with respect to ground. In some balanced circuits, only one leg actually carries the signal but both legs exhibit the same impedance characteristics with respect to ground. Balanced input circuits can offer excellent rejection of common-mode noise induced into the line and also make proper (no ground loops) system grounding easier. Usually terminated with 14" TRS or XLR connectors.
A cause of severe audio distortion that is the result of excessive gain requiring the peaks of the audio signal to rise above the capabilities of the amplifier circuit. Seen on an oscilloscope, the audio peaks appear clipped off. To avoid distortion, reduce the system gain in or before the gain stage in which the clipping occurs. See also headroom.
Another term for the electronic component generally known as a capacitor. In audio, condenser usually refers to a type of microphone that uses a capacitor as the sound pickup element. Condenser microphones require electrical power to run internal amplifiers and maintain an electrical charge on the capacitor. They are typically powered by internal batteries or phantom power supplied by an external source, such as a mixing console.
A unit of measurement of audio signal level in an electrical circuit, expressed in decibels referenced to 1 VRMS across any impedance. Commonly used to describe signal levels in consumer equipment. To convert dBV to dBu, add 2.2dB.
The dB is a ratio of quantities measured in similar terms using a logarithmic scale. Many audio system parameters measure over such a large range of values that the dB is used to simplify the numbers. A ratio of 1000V:1V=60dB. When one of the terms in the ratio is an agreed upon standard value such as 0.775V, 1V or 1mw, the ratio becomes an absolute value, i.e., +4dBu, 10dBV or 0dBm.
With added reverberation or other effect like echo, delay or chorusing.
APPENDIX B: CONNECTIONS
Mackie mixers use 3-pin female XLR connectors on all microphone inputs, with pin 1 wired to the grounded (earthed) shield, pin 2 wired to the high (hot or positive polarity) side of the audio signal and pin 3 wired to the low (cold or negative polarity) side of the signal (Figure 2 SHIELD A). All totally HOT aboveboard and in full accord COLD with the halSHIELD 1 lowed standards dictated by the COLD AES (Audio HOT SHIELD 1 Engineering 3 COLD Society). 2 HOT Use a male Figure A: XLR Connectors XLR-type connector, usually found on the nether end of what is called a mic cable, to connect to a female XLR jack.
Balanced mono circuits. When wired as a balanced connector, a 14" TRS jack or plug is connected tip to signal high (hot), ring to signal low (cold), and sleeve to ground (earth). Unbalanced Send/Return circuits. When wired as send/return Y connector, a 14" TRS jack or plug is connected tip to signal send (output from mixer), ring to signal return (input back into mixer), and sleeve to ground (earth).
TS PHONE PLUGS AND JACKS
TS stands for Tip-Sleeve, the two connections available on a mono 14" phone jack or plug (Figure C). TS jacks and plugs are used in many different applications, always unbalanced. The tip is connected to the audio signal and the sleeve to ground (earth). Some examples: Unbalanced microphones Electric guitars and electronic instruments Unbalanced line-level connections
TRS PHONE PLUGS AND JACKS
TRS stands for Tip-RingSleeve, the TIP three RING connections TIP available on a SLEEVE Figure B: 14" TRS Plugs stereo 14" or balanced phone jack or plug. See Figure B. TRS jacks and plugs are used in several different applications: Stereo Headphones, and rarely, stereo microphones and stereo line connections. When wired for stereo, a 14" TRS jack or plug is connected tip to left, ring to right and sleeve to ground (earth). Mackie mixers do not directly accept 1-plug-type stereo microphones. They must be separated into a left cord and a right cord, which are plugged into the two mic preamps. You can cook up your own adapter for a stereo microphone adapter. Y two cables out of a female 14" TRS jack to two male XLR plugs, one for the Right signal and one for the Left.
8. Dont cut the third pin off of the power cord. Carry some ground-lifter adapters and use them only when you have to plug into an ancient two-wire outlet. 9. If you bundle your cables together, dont bundle AC wiring and audio wiring together. Bundle them separately. 10.If your sound system insists on humming, you may need to teach it the words.
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We love to hear what folks have created using our mixers. If you use your MS1202-VLZ to track and/or mix a CD that is commercially released, well trade you a disc for a genuine Mackie T-Shirt! By commercially released, we mean offered for sale, even if its just being sold out the back door of a local Karaoke joint. No hand-lettered covers, please and thank you. Furthermore, if you send us an interesting story or photograph about your production we might just include it in our monthly newsletter! To get your genuine 100% cotton Mackie Celebrity T-shirt, send your CD (and optional story or photo) to: Mackie Designs FREE T-SHIRT OFFER attn: Communications Department 16220 Wood-Red Rd. NE Woodinville , WA 98072 (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 pens in the hands of Mackies legendary Tech Support staff. Manual composed on a rinky-dink PC using a low-budget word processor, then converted to this amazing piece of work using a 13-story 1000 gigawhopper Macintosh operated by Mackies notorious Advertising staff (most notably Becky Priebe). Please, feel free to let us know if you find an error or stumble over a confusing paragraph. Thank you for reading the entire manual (we know you have, or you wouldnt be here).
BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL MONO MONO MONO MONO
Some of the people at our Woodinville, Washington factory who helped design, build, sell, and support your product.
Mackie Designs Inc.
16220 Wood-Red Rd. NE Woodinville, WA 98072 USA 800/898-3211 Outside the US: 425/487-4333 Fax: 425/487-4337 www.mackie.com E-mail: firstname.lastname@example.org
The 1202-VLZ PRO is the updated, upgraded version of Mackies classic 12-channel compact mic/line mixer. The unit incorporates Mackies new ultra-high quality XDR (Extended Dynamic Range) mic preamps with the best RFI rejection of any compact mixer design. Added benets include maximum freedom from ground loops and impeccable sonic performance that meets or exceeds the specs of esoteric, outboard mic preampliers. The XDR design is the only compact mixer mic preamp that is totally impedance independent: frequency response does not change even with extremely long cable runs or exceptionally high-impedance mic inputs. To greatly reduce the effects of wind noise and mic thumps, each of the four mic channels has a sharp, 18dB/octave, 75Hz Low Cut lter. Mute/Alt 3-4 effectively creates a second stereo bus. The Mute button on each channel mutes that channel in the Main Mix, but also acts as a router to the 3-4 stereo bus, greatly increasing signal routing exibility. The EFX to Monitor feature allows routing of reverb or other effects signals back into a monitor mix via Aux Send 1. Aux 1s Pre/Post switch can be set for pre-fader/post-EQ use, which is benecial for stage monitor mixes, or postfader/post-EQ for use with external effects. It also has a level control for added exibility. Control Room/Phones has its own level control, outputs and input matrix for selecting any combination of Main Mix, Tape In and Alt 3-4 to create custom headphone mixes, to monitor tape levels, and more. A separate switch routes this multi-source signal back into the Main Mix. Because of its many features and durability, the 1202-VLZ PRO can be used for extra studio-grade preamps, as aux inputs for a mixing console, or as an impedance- or level-matching audio toolkit.
12-Channel Mic/Line Mixer
4 low noise, high headroom XDR (Extended Dynamic Range) XLR mic inputs with the best RF rejection of any compact mixer available and maximum freedom from ground loops 4 balanced/unbalanced mono line inputs 4 pairs of balanced/unbalanced stereo line inputs 48V global phantom power 3-Band EQ (12kHz, 2.5kHz, 80Hz) 75Hz, 18dB/octave Low Cut lters on Channels 14 PFL Solo on all channels Very Low Impedance (VLZ) architecture EFX to Monitor switch Alt 3-4 extra stereo bus Balanced inputs and outputs (except RCAs, phones and inserts) Balanced XLR Main L/R outputs with mic/line level switch, plus 1/4" (TRS) Main L/R outputs 60dB Gain on Channels 14 Global Aux 1 Pre/Post-Fader switch Level Set LED and marker
Live sound mixing: small churches, clubs, school auditoriums, school sports centers, conference centers, boardrooms, trade shows, presentations Studio and eld recording Multimedia applications: A/V presentations, video post production, CD authoring Broadcast: live remotes, ENG, ad production
RM1202-VLZ Rack-mount brackets (not included), 1402-VLZ PRO 14-Channel Mic/Line Mixer, 1604-VLZ PRO 16-Channel Mic/Line Mixer, 1642-VLZ PRO 16-Channel Mic/Line Mixer, SRM350/SRM450 Active 2-Way SR Loudspeakers, M800/M1400i/M1400 Power Ampliers, C200/C300z passive 2-way SR Loudspeakers
Mic Preamp Equivalent Input Noise (20Hz20kHz): 0 Frequency Response: 1dB 3dB IM Distortion (4 to 1 ratio SMPTE) 35dB gain Harmonic Distortion (20Hz20kHz) 35dB gain Gain Max Min Max Input Input Impedance Common Mode Rejection Common Mode Rejection Ratio Main Mix Noise1 Main Mix down, ch. Gain down: Main Mix @ unity, ch. Gain down: Main Mix knob @ unity, ch. Gain @ unity: Total Harmonic Distortion (THD)2 0.005% Attenuation Main Mix knob down: Channel Mute/Alt 3-4 switch engaged: Channel Gain knob down: Frequency Response4 20Hz to 60kHz: 20Hz to 100kHz: Maximum Levels Mic input: Tape input: All other inputs: Main Mix XLR outputs: All other outputs: Impedances Mic input: Channel Insert return: All other inputs: Tape output: All other outputs: (Crosstalk)3 85dBu 84dBu 83dBu +0dB/1dB +0dB/3dB +22dBu +16dBu +22dBu +28dBu +22dBu 1.3k 2.5k > 10k 1.1k 120 129.5dBu 131.0dBu 134.5dBu 5Hz100kHz 3Hz192kHz 0.0008% 0.0007% +60dB 0dB or Unity +22dB 1.3k > 90dB > 140dB 104dB 90.5dB 88.5dB EQ High Shelving: Mid Peaking: Low Shelving: Power Consumption 120VAC, 50/60Hz, 25 Watts Physical Weight: Dimensions: (300mm x 284mm x 66mm) 6 lbs. 8 oz. (3 kg) 11.8" x 11.2" x 2.6" 15db @ 12kHz 12dB @ 2.5kHz 15db @ 80Hz
6 rack spaces
11.2" (284mm) 19" (483mm) with optional rack ears (RM1202-VLZ) 2.6" (66mm) 11.2" (284mm) 2.6" (66mm) 11.8" (300mm)
Specications footnotes: 1) 20Hz20kHz bandwidth, 1/4" Main out, channels 14 Trim @ unity gain, channel EQs at, all channels assigned to Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right. Reference +4dBu. 2) 1kHz @ +14dBu, 20Hz20kHz. 3) 1kHz relative to 0dBu, 20Hz20kHz bandwidth, Line in, 14" Main Out, Trim @ unity. 4) Any input to any output.
LOGIC SOLO ALT R ALT L MAIN R MAIN L
INSERT GAIN MAIN / ALT LINE OUT L 3-BAND EQ 30dB PAD 2 AUX SENDS 3 3-BAND EQ
LO MID HI LO MID 2K5 12K HI
TAPE OUT L
AUX SEND 2 POST AUX SEND 1 POST AUX SEND 1 PRE
1 75Hz HPF
2 LO CUT MAIN MIX BAL OUT L 1
3 MONO CHANNEL (1 OF 4) MAIN LEVEL
BAL OUT R 1 LINE OUT R
SOLO (PFL) ALT MIX MAIN / ALT ALT OUT L
LINE IN L
80 2K5 12K
TAPE OUT R
ALT OUT R GAIN PAN METERING (0dBu = 0VU) AUX 2 TAPE IN +6dB L TAPE R ALT SOURCE
STEREO CHANNEL (1 OF 4)
LO 80 2K5 12K MID HI
LINE IN R
RUDE SOLO LED
AUX 1 SOLO (PFL)
CONTROL ROOM & PHONES MIX MAIN
CONTROL ROOM & PHONES LEVEL
L IN (MONO) SOLO RELAY AUX RETURN 1 GAIN SOLO MIX R IN ASSIGN TO MAIN L IN AUX 1 PRE / POST AUX 1 LEVEL R IN AUX MIX AUX SEND 1 EFX TO MONITOR AUX SEND 2 RIGHT CONTROL ROOM OUT PHONES OUT LEFT AUX RETURN 2 GAIN
Architect and Engineers Specications 1. GENERAL CONFIGURATION. The mixer shall accommodate 4 microphone signals: mono channels 14; 12 line signals: mono channels 14 and stereo channels 512; 2 stereo pairs of Aux Return inputs; 4 Send/Return channel Inserts; 2 stereo pairs of Main Mix outputs; 1 stereo pair of RCA-type Tape Inputs; 1 stereo pair of RCA-type Tape Outputs; 1 stereo pair of Control Room outputs; 1 stereo pair of Alt 3-4 outputs; 2 Aux Send outputs; and 1 stereo headphone output. The mixer shall be capable of placement on a table or installation in a standard 19-inch rack mount (using optional rack rail brackets) and shall be entirely self-contained. 2. MIXER INPUTS. MONO CHANNELS 14: The mixer shall include 4 XDR electronically balanced mic inputs, using XLR3-F-type connectors, accepting nominal levels from 60dBu to +4dBu via 4 rotary Trim controls. 48V phantom power shall be available via a globally-controlled rocker-type switch. 4 balanced or unbalanced line inputs shall be wired in parallel, using 1/4" TRS phone jacks, accepting nominal levels from 45dBu to +4dBu. The mixer shall include 4 channel Inserts using 1/4" TRS phone jacks (tip=send, ring=return, sleeve=ground), delivering and accepting nominal levels from 10dBV to +4dBu. STEREO CHANNELS 5/6, 7/8, 9/10 and 11/12: The mixer shall include 8 bal/unbal line inputs, forming 4 stereo input pairs, using 1/4" TRS phone jacks and accepting nominal levels from 10dBV to +4dBu. OTHER INPUTS: The mixer shall include 4 bal/unbal Aux Return inputs, forming two stereo pairs, using 1/4" TRS phone jacks and accepting nominal levels from 10dBV to +4dBu. The mixer shall include 1 stereo pair of Tape In jacks, using unbalanced RCAtype phono jacks, accepting nominal levels from 20dBV to +4dBu. 3. MIXER OUTPUTS. MAIN OUTPUTS: The mixers Main Output stereo pairs shall be tted in three ways: Using balanced XLR-3-M-type connectors, maximum output of +28dBu, including 1 Main Output Level switch to provide 30dB attenuation (XLR outputs only); using bal/unbal 1/4" TRS phone jacks, delivering nominal levels from 10dBV to +4dBu; and using unbalanced RCA-type phono jacks (labeled TAPE OUT) delivering nominal levels from 10dBV to +4dBu. OTHER OUTPUTS: The mixer shall include 1 stereo pair of Alt 3-4 outputs using bal/unbal 1/4"
TRS phone jacks, delivering nominal levels from 10dBV to +4dBu; 1 stereo pair of Control Room outputs using bal/unbal 1/4" TRS phone jacks, delivering nominal levels from 10dBV to +4dBu; 2 Aux Send outputs using bal/unbal 1/4" TRS phone jacks, delivering nominal levels from 10dBV to +4dBu; and 1 stereo Headphones output using an unbalanced 1/4" TRS phone jack (tip=left, ring=right, sleeve=ground). 4. MIXER INPUT SECTION. Each channel shall include 1 rotary Trim control; 1 Low Cut lter (HPF), providing an 18dB per octave curve starting at 75Hz; 2 rotary Aux Send controls, providing up to 15dB above unity gain; 3 rotary equalization (EQ) controls: +15dB @ 12kHz shelving, +12dB @ 2.5kHz peaking and +15dB @ 80kHz shelving; 1 rotary Pan control, 4dB attenuation panned center; 1 Mute/Alt 3-4 switch, to be used as a channel mute or to route the signal to the alternate stereo bus (Alt 3-4); 1 PFL (Pre-Fader Listen solo) switch; and 1 rotary channel Gain control, providing up to 20dB above unity gain. Note: The stereo channels (5/6, 7/8, 9/10 and 11/12) shall not include the Trim or Low Cut controls. 5. MIXER OUTPUT SECTION. The mixer shall have 1 rotary Main Mix control, providing up to 10dB above unity gain; 1 rotary Control Room/Phones control, providing up to 10dB above unity gain; 1 Source Matrix including 3 switches to deliver any combination of stereo signals to the Control Room, Phones and Meters, including Main Mix, Alt 3-4 and Tape, which shall be replaced by any solo signals resulting from the engagement of any channels PFL switch; 1 Assign to Main Mix switch to deliver the Source Matrix signals to the Main Mix; 2 rotary Aux Return level controls, providing up to 20dB above unity gain; 1 rotary Aux Send 1 Master control, providing up to 10dB above unity gain; 1 Aux Send 1 global Pre/Post switch; 1 EFX to Monitor switch, allowing Aux Return 1 signals to be delivered to Aux Send 1 via the Aux Return 2 level control; and 1 blinking red Solo LED, to indicate a solo condition. 6. METERING. The mixer shall include 1 stereo 12-segment LED meter with points at 30, 20, 10, 7, 4, 2, 0, +2, +4, +7, +10 and 28dB (clip). The source signals for the meters shall be the same signals selected in the Source Matrix, and a solo condition shall replace the Source selection with the soloed channel(s). The meters shall be calibrated so that a 0dBu signal at the Control Room output shall be indicated as 0dB on the meters, 1dB.
7. PHYSICAL CONFIGURATION. The mixer shall be made of steel, painted dark gray with light gray graphics. The mixers dimensions shall be 2.6" (66mm) in height, 11.8" (300mm) in width and 11.2" (284mm) in depth, as viewed horizontally. The mixer shall weigh 6 lbs, 8 oz (14.3 kg). Optional RM1202-VLZ rack-mount brackets shall allow the mixer to be mounted in a rack system, with either the chassis top or the control knobs tops to be ush with the rack rail. 8. SPECIFICATIONS. In addition to specications already cited, the mixer shall meet or exceed the following specications: Frequency response: microphone input to any output, 20Hz to 60kHz, +0dB/1dB; Total Harmonic Distortion (THD): 1Khz @ +14dBu, 0.0007%; Equivalent Input Noise (EIN): microphone input to insert send, 129.5dBm: Common Mode Rejection (CMR): microphone input to insert send, maximum gain, 1kHz, better than 90dB; Typical Main Output noise: all channels assigned, channels 1 and 3 panned left, channels 2 and 4 panned right, main mix @ unity, channel gain @ unity, 86dBu; Signal to Noise ratio: ref +4dBu operating level, 90dB; Attenuation: ref. 0dB @ 1kHz, Main Mix level control down, 85dBu; channel Mute engaged, 84dBu; channel Gain control down, 83dBu; Input impedance: microphones input, 1.3k; channel Insert return, 2.5k; all other inputs, greater than 10k; Output impedance: Tape Out, 1.1k; all other outputs, 120. The mixer shall be a Mackie 1202-VLZ PRO.
FILES FOR DOWNLOADING 1202VLZP.PDF this specication sheet 1202AE.TXT text version of Architects and Engineers Specications for insertion into proposals
16220 Wood-Red Road NE, Woodinville, WA 98072 USA 800.898.3211, fax 425.487.4337, email@example.com
UK +44.1268.570.808, fax +44.1268.570.809, firstname.lastname@example.org
LOUD Technologies continually engages in research related to product improvement. New material, production methods, and design renements are introduced into existing products without notice as a routine expression of that philosophy. For this reason, any current LOUD Technologies product may differ in some respect from its published description, but will always equal or exceed the original design specications unless otherwise stated. 19992004 LOUD Technologies Inc. All rights reserved. Part No. 091-294-00 Rev. B
The Mackie VLZ3 series are the latest in the popular VLZ line of small format mixing consoles. The VLZ3 is an improvement on the favored design with enhanced XDR2 microphone preamplifiers an ultra quiet mix bus with improved headroom and a new look. The 1202-VLZ3 features twelve balanced line inputs four high quality XDR2 mic preamps four insert points (mono channels 1-4) and ALT 3-4 outputs which give users alternatives from routing signal to the stereo Main Out. Using the ALT 3-4 and Main outputs simultaneously provides four-bus style routing to multitrack recorders monitors etc. Perhaps the most impressive feature is in the mic preamps. Premium studio-grade Extended Dynamic Range (XDR2) mic preamps provide an incredible 130dB dynamic range and 0 to 60dB gain range providing pristine audio and low noise floor. XDR2 mic preamps are optimized for 24-bit 192kHz sample rate recording.
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