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Owners Manual

Instant Mixing
Heres how to get going right away, assuming you have a microphone and a keyboard: 1. Plug your microphone into channel 1s mic input. 2. Turn on the 802-VLZ3. 3. Perform the level-setting procedure. 4. Connect cords from the main outs (XLR, 14" or RCA, your choice) to your amplifier. 5. Hook up speakers to the amp and turn it on. 6. Turn up the 802-VLZ3s channel 1 level knob to the center, and the main mix knob one quarter of the way up. 7. Sing like a canary! 8. Plug your keyboard into stereo channel 5-6. 9. Turn that channels level knob to the center. 10. Play like a madman and sing like a canary! Its your first mix!

Level-Setting Procedure

Message to seasoned pros: do not set levels using the old Turn the gain up until the clip light comes on, then back off a hair trick. When a Mackie mixer clip light comes on, you really are about to clip. We worked and slaved to come up with a better system, one that provides low noise and high headroom.
Adjusting input levels (Chs. 13 only)
On the first three channels, its not even necessary to hear what youre doing to set the optimal levels. But if youd like to: Plug headphones into the phones jack, then set the phones knob about one-quarter of the way up. The following steps must be performed one channel at a time: 1. Turn the gain, level and aux send knobs fully down (counterclockwise). 2. Set the EQ knobs at the center detent. 3. Connect the signal source to the input. 4. Engage (push in) the solo switch. 5. Play something into the selected input. This could be an instrument, a singing or speaking voice, or a line input such as a CD player or tape recorder output. Be sure that the volume of the input is the same as it would be during normal use. If it isnt, then you might have to readjust these levels during the middle of the set. 6. Adjust the channels gain control so that the meter display stays around 0 and never goes higher than +6. 7. If youd like to apply some EQ, do so now and return to step 6. 8. Disengage that channels solo switch. 9. Repeat for each of channels 1 through 3. Note that channel 3's gain control only affects the mic input, not the line inputs.
Part No. SW0635 Rev. C 01/09 2007-2009 LOUD Technologies Inc. All Rights Reserved. (Based on a true story.)

Other Notes

For optimum sonic performance, the channel level knobs and the main mix knob should be set near the U (unity gain) markings. Always turn the main mix, control room/submix, and phones level controls down before making connections to and from your 802-VLZ3. If you shut down your equipment, turn off your amplifier or powered speakers first. When powering up, turn them on last. Save the shipping box! You may need it someday.

Microphone Electric Guitar Acoustic Guitar Bass Guitar

Amplifier modeler

DI Box

LINE IN 3

Effects Processor Return (connected to aux send)

-10dBV

Return Vocal Compressor (connected to Insert) Send
Compressor (connected to Insert)

Return

SA1530z Powered Speakers

Keyboards

iPodTM Docking Station
This diagram shows a microphone connected to the mic input of channel 1, and a vocal compressor connected to the insert jack. A guitar is attached to the instrument input of channel 2, with the instrument switch pressed in, and a compressor on the insert. A bass guitar is connected to channel 3's mic input via a DI box, and another guitar plays through an amplifier modeler into channels 5 and 6. Keyboards are connected to the line inputs of channels 7 and 8. An effects processor is connected to the aux send, with the aux send set to post-level. Effects are added to the main mix via the stereo return inputs, and adjusted with the stereo return level control. To use the aux send for stage monitors instead of an effects processor, set the aux to pre-level so the monitor volume level can be adjusted independently from the main loudspeakers. An iPodTM docking station is connected to the tape RCA inputs, so you can play pre-recorded music during the breaks. The main mix output connects to a pair of SA1530z powered loudspeakers to please your audience.

Live Band PA System

Condenser microphone Acoustic Guitar Electric Guitar
HR624mkII studio monitors

Headphones

Headphone amp

Laptop

Electronic Drum Kit
This diagram shows a condenser microphone connected to the mic input of channel 1, with phantom power engaged. A guitar is attached to the instrument input of channel 2, with the instrument switch pressed in. Another guitar plays through an amplifier modeler into channels 3 and 4. A stereo synth is connected to the line inputs of channels 5 and 6, and an electronic drum kit feeds channels 7 and 8. The audio outputs from a laptop computer are connected to the RCA tape inputs. This allows you to playback your recordings made using the supplied Tracktion software. The Alt 3-4 outputs are used to feed the inputs to your computer's sound card. By pressing a mute/alt 3-4 switch, it is easy to set up a channel to record onto your computer. A headphone amplifier is connected to the headphones output, and feeds four pairs of headphones. A pair of HR624mkII powered studio monitors are connected to the control room outputs. You can use this setup to record overdub style: 1.For the track being recorded, route it to the alt 3-4 output, which feeds the computer input. 2.Monitor just the previously-recorded tracks through the tape input, which will feed the control room/phones. 3.Since only the currently-recorded track is feeding the computer (through alt 3-4), you will hear the previous tracks you are overdubbing to, but they will not be recorded to each new track. 4.The control room/phones is fed by a mixture of alt 3-4 (currently recorded track) and tape in (output of Tracktion playing back previously-recorded tracks).

-15 +15 U -15 +15 U -15 +15 U -15 +15 U
LOW 1.MIC INPUTS (Channels LOW 13) 80Hz 80Hz

-15 +15 -15 +15 -15 +15

SEND Most modern professional condenser mics are +15 +20 +10 equipped for phantom power, which lets the mixer U EQ send low-current DC voltage to the mics electronics POWER 12kHz through HI same CONTROL carry audio. (Semi-pro the wires that LEFT RIGHT 0dB=0dBu ROOM -15 +15 condenser mics often have batteries to accomplish the SOURCE 20 U same thing.) Phantom owes its name to an ability to 15 MID 2.5kHz 10 be unseen by dynamic mics (Shure SM57/SM58, for MAIN MIX -15 +instance), which dont need external power and arent U 3 affected by it anyway. LOW

O O O O

MASTER
2 +15 The 802-VLZ3s phantom power is globally controlled We use phantom-powered, balanced microphone 4 PAN PAN PAN PAN TAPE phantom power [12] switch. (This meansLEVEL the inputs just like the big studio mega-consoles, for exactly by the PAN 7 SET phantom power for the mic inputs of channels 1-3 is the same reason: This kind of circuit is excellent at re10 L R L R L R L R L R turned on and off together.) 20 jecting hum and noise. You can plug in almost any kind has a standard XLR male mic connector. 2 3-4 5-6 7-8 of mic that MUTE MUTE MUTE MUTE MUTE ASSIGN Never plug single-ended (unbalanced) micro ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 TO MAIN MIX RUDE phones or instruments into the mic [1] input Professional ribbon, dynamic,PRE FADER and condenser FADER mics SOLO PRE FADER PRE FADER PRE PRE FADER SOLO SOLO through these inputs. The SOLO SOLO SOLO jacks if the phantom power is on. will all sound excellent MAX U U U U U U U PHONES 802-VLZ3s mic inputs will handle any kind of mic level Do not plug instrument outputs into the mic you can toss at them, without overloading. Be sure to input jacks with phantom power on, unless perform the level-setting procedure on page 3. +10dB +12dB +12dB +12dB +12dB +12dB you know for certain it is safe to do so. +12dB LEVEL LEVEL LEVEL LEVEL LEVEL CTL ROOM/SUBMIX MAIN MIX Channel 3-4 is a hybrid design, with a mono mic input Do not use phantom power with ribbon microin a stereo channel. The mono mic input is fed to both phones. sides of the stereo field.

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. Channels 1 and 2 have an instrument switch [6] so you do not need a DI box, and can plug your guitar directly into the line inputs [2].
2.LINE INPUTS (Channels 12) U U

AUX AUX

O O O O O O
These inputs share circuitry (but not phantom power) with the mic preamps, +15 can be driven by balanced and +15 +15 +15 +15 +20 +10 or unbalancedEQ sources at almost any level. You can useEQ U U U U U EQ EQ EQ POWER HI HI HI these inputs for virtually any signal youll HI come across, HI 4.CHANNEL INSERT (Channels 12) 12kHz 12kHz 12kHz 12kHz 12kHz LEFT RIGHT CONTROL from instrument levels+15 low as 40+15 to operating as dB 0dB=0dBu ROOM -15 +15 -15 -15 -15 +15 -15These jacks are where you connect serial effects +15 SOURCE 20 U U U U levels ofU10 dBV to +4 dBu, since there is more gain such as compressors, equalizers, de-essers,15 filters. or MID MID MID MID available thanMID line inputs 38. on 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz Since most people dont have more than a few of these 10 MAIN -15 +15 -15 +15 -15 +15 -15 +15 gadgets, -15 U+15 weve includedMIX inserts for just the 6first two U U lines to these inputs, use U 14" U To connect balanced a 3 channels. If you want to use this kind of processing on LOW LOW LOW LOW Tip-Ring-Sleeve (TRS) plug, the type found on stereo LOW 80Hz 80Hz 80Hz 80Hz 80Hz ALT 3-channels 3 through 8, simply patch your source through headphones. 2 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 your processor before you plug into the 802-VLZ3. 4 PAN PAN PAN PAN PAN TAPE To connect unbalanced lines to these inputs, use a LEVEL 7 The channel insert points are after the gain [7]SET and 14" mono (TS) phone plug or standard instrument 10 low R [5] controls, but before the channels EQ [25L R L R L R L R L cut 20 cable. 27] and level [21] controls. The send (tip)30is low-im3-4 5-6 7-8 MUTE MUTE MUTE MUTE MUTE ASSIGN pedance (120 ohms), capable of driving any line-level The ALT 3-4 inputs 12 are a good place to connect3-4 line ALT 3-4 ALT 3-4 ALT older ALT 3-4 TO MAIN MIX RUDE device. instruments that need more gain. You can correct weak SOLO PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER The return (ring) is high-impedance (over 2.5 k SOLO SOLO SOLO SOLO SOLO ohms) and can be driven by almost any device. levels by adjusting the corresponding U channels gain MAX U U U U U U PHONES control. SEND to processor
plug nothing into the right input (jacks 4, 6, or 8) this AUX STEREO U U U RETURN way theAUX will appear MASTER sides. This trick is signal on both PRE POST called jack normalling. SEND

9.ALT 34 OUTPUT

These 14" outputs are the sum of any channels that have the mute/alt 3-4 [23] switch pressed in (see page 16 for the tender details). The outputs are TRS 1/4" and can be connected to balanced or unbalanced lines. For example, you can use these to feed a recorder, and just record individual channels by pressing their mute/alt 3-4 switches one at a time. Owners Manual
10. CONTROL ROOM OUTPUTS U U AUX AUX
12. PHANTOM SWITCH and LED AUX U U AUX
These TRS 14" balanced/unbalanced outputs al+15 +15 +15 low you to listen to something other +15 the main than U U U U EQ are often used to run EQ EQ mix. These outputs a nice pair of EQ HI HI HI 12kHz 12kHz 12kHz powered studio monitors in12kHzcontrol room. The source HI a -15 +15 -15 +15 -15 [30] -15 (see is selected using the source matrix U+15 switches +15 U U U page 19). You MID choose toMID can listen to the MID mix, theMID main 2.5kHz 2.5kHz 2.5kHz alt 3-4 stereo 2.5kHz (see mute/alt 3-4 on page 16), soloed bus -15 +15 -15 +15 -15 +15 -15 +15 channels, or the tape U input. The volume is adjustable U U U with the control room/submix [32] knob.LOW LOW LOW LOW

80Hz 80Hz 80Hz 80Hz

SEND This global switch controls the phantom power supply +15 +10 for condenser microphones plugged into the+20 [1] inmic U EQ puts. See the phantom power details on page 11 before POWER HI 12kHz using this switch. CONTROL LEFT RIGHT
SOURCE 20 U Press the switch in to engage phantom power to the 15 MID three mic inputs. Press the switch out to turn it off. The 2.5kHz 10 MAIN MIX LED will come on when phantom power is engaged. -15 +15 6

0dB=0dBu

Phantom power is supplied to all 0three mic ALT 3-4 inputs at once, therefore, do not use a rib2 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 bon microphone in any of these inputs when 4 11. PHONES PAN PAN PAN PAN PAN TAPE LEVEL 7 phantom power is engaged. SET This stereo jack will drive any standard headphone to 10 L R L R L R L R L R very loud levels. "iPod"-type and computer headphones 20 13. TAPE INPUT 5-6 7-8 can also1 used here, with a 1/4" 3-4 to 1/8" female be male MUTE MUTE MUTE MUTE MUTE ASSIGN ALT 3-4 ALT 3-4 ALT 3-4 ALT 3-4 TO MAIN MIX stereo ALT 3-4 adapter. Connect your computer audio outputs, or tape recordRUDE SOLO PRE FADER PRE FADER PRE FADER PRE FADER PRE FADER ers outputs here, using standard hi-fi (RCA) cables. SOLO how signals are routedSOLO SOLO SOLO see SOLO To learn to these outputs, MAX U U U U U U U source matrix [30] on page 19. The level is adjusted PHONES Use these jacks for convenient tape playback of your with the phones knob [31], and the source is whatever mixes. Youll be able to review a mix and then rewind the control room output is playing, such as the main and try another pass without repatching or disturbing +10dB +12dB +12dB +12dB +12dB +12dB mix, the LEVEL stereo LEVEL soloed channels, or the tape alt+12dB 3-4 bus, the LEVEL levels. You can also use these MAIN MIX a mixer jacks with LEVEL LEVEL CTL ROOM/SUBMIX input. If youre wiring your own cable for the phones portable tape or CD player to feed music to a PA system output, follow standard conventions: between sets.

BAL OR UNBA

As a general guide, you should turn on your mixer U U U U AUX AUX AUX AUX first, before the power amplifier or powered speakers, and turn it off last. This will reduce the possibilities of +15 +15 +15 any turn-on, or turn-off thumps in your speakers.U+15 U U U

HI 12kH

MID 2.5kH

17. XLR MAIN OUTS

Use these to send the main mix out into the line-level balanced inputs of your amplifier or powered speakers. These low-impedance outputs are fully balanced, and this output is 6 dB hotter than other outputs.

LOW 80H

18. XLR MAIN OUTPUT LEVEL SWITCH
Engaging this switch reduces the level of the balanced XLR main outputs, so you can feed the microphone input of, say, another mixer. (You can safely connect the XLR outputs into an input that provides 48V phantom power.)
Channel Strip Description
The five channel strips look alike, and function L L L identically. The first two are for individual mics or mono LINE IN 1 LINE have LINE gain instruments, and IN 2 more IN 3 available. RThe next R MAIN OUTPUT strip controls mic or stereo line-levelLEVEL sources, and the R last two are forINSERT stereoIN 4 mono line-level sources. either LINE or INSERT L L (Each of the stereo channel strips is actually two complete circuits. The controls are linked together to preserve stereo.) Well start at the bottom and work our R R way up:
BAL OR UNBAL BAL OR UNBAL MONO
route them to the main mix or alt 3-4 mix. You dont even have to have the channels level [21] knob turned up. Folks use solo in live work to preview channels beAUX SEND they are let into the mix, or to just check out what fore L L a particularL channel is up to anytime during a session. You can solo as many channels at a time as you like. PHANTOM

BAL/UNBAL 3 BAL/UNBAL

Solo is also the key player in the Level-Setting Procedure on page 3.

ST RETURN

LINE IN 7-8
Soloed channels are sent to the source mix, which ultimately feeds your control room, phones and meter AUX STEREO RETURN display. Whenever solo is engaged, all source selections (main mix, alt 3-4 and tape) are defeated, to allow the POWER soloed signal to do just that solo!

ALT OUTPUT

CR OUTPUT

MASTER SEND

LEVEL SET

Aux in post mode is post-low cut, post-EQ and postlevel. That is, the aux send obeys the settings of these controls. Aux in pre mode follows the EQ and low cut settings only. Pan and level have no effect on the pre send.
The aux send level ranges from off through unity (the MAIN MIX center position) on up to 15 dB 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.

MODERATION DURING EQ

With EQ, you can also upset things royally. Weve designed a lot of boost and cut into each equalizer circuit, because we know everyone will occasionally need that. But if you max the EQs on every channel, youll get mix mush. Equalize subtly and use the left sides of the knobs (cut), as well as the right (boost). Very few gold-recordalbum engineers ever use more than about 3 dB of EQ. If you need more than that, theres usually a better way to get it, such as placing a mic differently (or using a different kind of mic or singer entirely).
The channel 38 aux knobs 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 knob. Still with us? Good for you. Here come the tricky parts, the output or master section where the mixing is really done.

Output Section

that additional stereo mix bus. Tape is the stereo signal coming in from the tape input [13] jacks. Selections made in the source matrix deliver stereo signals to the control room, phones and meter display. With no switches engaged, there will be no signal at these outputs and no meter indication. The exception is the solo function. Regardless of the source selection, engaging a channels solo [22] switch will replace that selection with the solo signal, also sent to the control room, phones and meters. This is what makes the level-setting procedure so easy to do. Warning: engaging both the tape and assign to main mix [33] button can create a feedback path between tape input [13] and tape output [14]. Make sure your tape deck is not in record, recordpause, or input-monitor mode when you engage these switches, or make sure the control room / submix [32] level knob is fully counterclockwise (off). Now you know how to select the signals to send to the engineers control room or phones.

31. PHONES

This knob controls the level going to your stereo headphones. Make sure this is fully down whenever you are making connections in your system, or putting on the headphones. Bring up the level slowly and carefully to protect your hearing. This dedicated phones level knob makes it is easy to turn down the studio monitors and listen just with the headphones, when overdubbing, or when in a room full of sleeping and hungry leopards.

29. MAIN MIX

This knob controls the levels of signals sent to the main outputs: XLR [17] and 14" [16] and RCA tape output [14]. All channels and stereo returns [8] that are not muted or turned fully down will wind up in the main mix. Fully counterclockwise is off, the center is unity gain, and fully clockwise provides 12 dB of additional gain. This additional gain will typically never be needed, but once again, its nice to know its there. This is the knob to turn down at the end of the song when you want "The Great Fade-Out."

32. CONTROL ROOM/SUBMIX

This knob controls the level of the stereo control room outputs [10]. The control range is from off through unity gain at the center, with 10 dB of extra gain when turned fully clockwise. When main mix is your control room source selection, those signals will now pass through three level controls on the way to your control room amp and phones : the main mix [29] knob, this control room / submix knob, and the phones knob [31]. This way, you can send a nice healthy level to the main output (main mix knob at U), and a quiet level to the control room or phones (control room / submix knob and phones knob where you like). When alt 3-4 or tape is selected, or a channel solo [22] is engaged, the control room / submix knob and phones knob will be the only ones controlling these l evels (channel controls not withstanding). Owners Manual
30. CONTROL ROOM SOURCE MATRIX
Typically, the engineer sends the main mix to an audience (if live) or a mixdown deck (if recording). But what if the engineer in the control room needs to hear something other than the main mix? With the 802-VLZ3, the engineer has several choices of what to listen to. This is one of those tricky parts, so brace yourself. With these source switches, you can choose to listen to any combination of main mix, alt 3-4 and tape. By now, you probably know what the main mix is. Alt 3-4 is
Note: for stereo channels 3-8, the solo signal is the mono sum of the left (odd-numbered) and right (evennumbered) signals for that channel strip. Warning: pre-fader solo [22] taps the channel signal before the level knob. If you have a channels level knob set below "U" solo wont know that, and will send a unity gain signal to the control room, phones and meter display, that may result in a startling level boost at these outputs.

33. ASSIGN TO MAIN MIX

Lets say youre doing a live show. Intermission is nearing and youll want to play a soothing CD for the crowd to prevent them from eating the furniture. Then you think, But I have the CD player plugged into the tape i nputs, and that never gets to the main outs! Oh, but it does. Simply engage this switch and your control room source selection, after going through the control room / submix [32] knob, will feed into the main mix, just as if it were another stereo channel. Another handy use for this switch is to enable the alt 3-4 mix to become a submix of the main mix, using the control room/submix knob as its level control. Side effects: (1) engaging this switch will also feed any soloed channels into the main mix, which may be the last thing you want. (2) If you have the main mix as your control room source selection and then engage assign to main mix, the main mix lines to the control room will be interrupted to prevent feedback. Then again, why would anyone want to assign the main mix to the main mix?

3-4. This is a must for effects sends, since you want the levels of your wet signals to follow the level of the dry," keeping them at the same ratio. For example, you do not want a returned echo to stay at one level, when you turn a channel down; you want it to go down as well. Post mute/alt 3-4 means that when a channel is muted, its aux send to an external processor is also muted.

37. AUX MASTER SEND

This knob provides overall level control of aux send, just before its delivered to the aux send [15] output. This knob goes from off (turned fully down), to unity gain at the center, with 10 dB of extra gain (turned fully up). You may never need the additional gain, but here it is anyway. This is the knob to turn up when the lead singer glares at you, points at his stage monitor, and sticks his thumb up in the air. (If he stuck his thumb down, youd turn the knob down, but that never happens.)

A word about Aux

Sends are outputs, and returns are inputs. The channel aux [28] knobs taps the signal off each channel. The sum of the aux signals is sent to the aux master [37] knob before going to the aux send [15] output. This output can be fed to the inputs of a reverb or other device. From there, the outputs of this external device are fed back to the mixers stereo return [8] jacks, through the stereo return [38] level control, and fi nally delivered to the main mix. So, the original dry signals go from the channels to the main mix, and the affected wet signals go from the stereo return [8] to the main mix. Once mixed together, the dry and wet signals combine to create a glorious sound. So, armed with this knowledge, lets visit the auxiliary world:

38. STEREO RETURN

This control sets the overall level of effects received from the stereo return [8] inputs. This could be the affected (wet) processed signal returning from an effects processor, or the stereo signals from another synth or source. This control is designed to handle a wide range of signal levels, from off, to unity gain at the center, with 20 dB gain fully clockwise, to compensate for low-level effects or sources. Normally, set this knob at the center, and set the effects device or source's output control to whatever they call unity gain (check their manual). If that turns out to be too loud or too quiet, adjust the effects device or source's outputs, not the mixer. That way, the mixers knobs are easy to relocate at the center. Signals passing through this control proceed directly to main mix. The stereo returns do not have mute/alt 3-4 switches, so if you want these signals to get to the alt 3-4 mix, youll have to patch the effects devices outputs into one of the stereo channels instead of the stereo return, and mute/alt those channels.

36. PRE or POST (AUX)

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 theyre doing. On the 802-VLZ3, aux send can play either role, depending on the position of this switch. With this switch out (disengaged), aux send will tap a channel pre-fader and pre-mute/alt 3-4, meaning that no matter how you manipulate those controls as they feed the main mix, the aux send will continue to belt out that channels signal. This is the preferred method for setting up stage monitor feeds, as its level is not affected by changes to the channel's level controls. EQ settings will affect all aux sends. It's a bit like setting up two PAs, one at a nice level to keep your band happy, and one at a nice level to play to your audience. The levels of each are independent of each other. With the switch in, the aux send becomes an ordinary effects send post-fader (level) and post-mute/alt

39. POWER LED

This LED will light when the mixer is connected to a live power supply, and the power switch is turned on. This lets you know that the mixer's internal circuits are turned on, and all ready for action. Turning off the power switch will turn off the mixer and this LED will go out. Congratulations! Youve just read about all the features of your 802-VLZ3. Youre probably ready for a cold one. Go ahead. The rest of the manual can wait. Owners Manual
Appendix A: Service Information
If you think your 802-VLZ3 has a problem, please check out the following troubleshooting tips and do your best to confirm the problem. Visit the support section of our website (www.mackie.com) where you will find lots of useful information such as FAQs, documentation and user forums. You may find the answer to the problem without having to send your mixer away.
Check that the supplied power supply is connected to a live AC outlet. The power LED on the mixer should come on when the power switch is on.

Troubleshooting

Bad Channel
Is the gain set correctly? Is the level knob turned up? Is the instrument switch set correctly? (Channels 12 only). Try the same source signal in another channel, set up exactly like the suspect channel. Check that the pan knob is set correctly. Check the EQ and the low-cut switch.

Repair

For warranty service, please refer to the warranty information on page 27. Non-warranty service for Mackie products is available at a factory-authorized service center. To locate your nearest service center, visit www.mackie.com, click Support and select Locate a Service Center. Service for Mackie products living outside the United States can be obtained through local dealers or distributors. If you do not have access to our website, you can call our Tech Support department at 1-800-898-3211, Monday-Friday, during normal business hours, PST, to explain the problem. Tech Support will tell you where the nearest factory-authorized service center is located in your area.

COLD SHIELD

14"

TS Phone Plugs and Jacks

SLEEVE SLEEVE TIP
TS stands for Tip-Sleeve, the two connections available on a mono 14" phone jack or plug. See Figure C.

SHIELD COLD

COLD 3 HOT

TIP SLEEVE

Figure A: XLR Connectors

Figure C: TS Plug

TRS Phone Plugs and Jacks
SLEEVE TRS stands for Tip-Ring-Sleeve, the three 14" or balanced c onnections available on a stereo phone jack or plug. See Figure B.
TS jacks and plugs areRING SLEEVE many different used in SLEEVE RING TIP a pplications, always unbalanced. The tip is connected to TIP the audio signal and the sleeve to ground (earth). Some RING examples:

Unbalanced microphones

RING SLEEVE SLEEVE RING TIP

SLEEVE

Electric guitars and electronic instruments Unbalanced line-level connections

RING TIP SLEEVE

RCA Plugs and Jacks
RCA-type plugs (also known as phono plugs) and jacks are often used in home stereo and video equipment and in many other applications (Figure D). They are unbalanced and electrically identical to a 14" TS phone plug or jack (figure C). Connect the signal to the center post and the ground (earth) or shield to the surrounding basket.

SLEEVE TIP SLEEVE TIP

Figure B:

TRS Plugs

TRS jacks and plugs are used in several different applications: 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). 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

Figure D: RCA Plug

TRS Send/Receive Insert Jacks
Mackies single-jack inserts are the three-conductor, TRS-type 14" phone. They are unbalanced, but have both the mixer output (send) and the mixer input ( return) signals in one connector. See Figure E. The sleeve is the common ground (earth) for both signals. The send from the mixer to the external unit is carried on the tip, and the return from the unit to the mixer is on the ring.

tip ring

SEND to processor
Mackie Stereo Inputs and Returns: Mono, Stereo, Whatever
Stereo line inputs and stereo returns are a fine example of the Mackie philosophy (which we just made up) of Maximum Flexibility with Minimum Headache. The inputs and returns will automatically be mono or s tereo, depending upon how you use the jacks. Heres how it works: A mono signal should be patched into the input or return jack labeled left (mono). The signal will be routed to both the left and right sides of the return circuit, and will show up in the center of the stereo pair of buses its assigned to, or it can be panned with the pan [24] control. A stereo signal, having two plugs, should be patched into the left (mono) and the right input or return jacks. A jack switch in the right jack will disable the mono function, and the signals will show up in stereo. A mono signal connected to the right jack will show up in the right bus only. You probably will only want to use this sophisticated effect for special occasions.

1.8 in/ 47 mm

This plug connects to one of the mixers Channel Insert jacks.
ring RETURN from processor

Figure E

Using the Send Only on an Insert Jack
If you insert a TS (mono) 14" plug only partially (to the first click) into a Mackie insert jack, the plug will not activate the jack switch and will not open the insert loop in the circuit (thereby allowing the channel signal to continue on its merry way through the mixer). This allows you to tap out the channel or bus signal without interrupting normal operation. If you push the 14" TS plug in to the second click, you will open the jack switch and create a direct out, which does interrupt the signal in that channel. See Figure F. NOTE: Do not overload or short-circuit the signal you are tapping from the mixer. That will affect the internal signal.
Microphone Stand8.9 in/227 mm
The bottom panel of the 802-VLZ3 has three non-threaded holes that allow it to be fitted with an optional microphone stand adapter. This allows you to support the mixer on a standard mic stand, and adjust its height and level to whatever suits your strangely-complex set of preferences.
holes for mic stand adapter

MONO PLUG

Channel Insert jack

bottom panel

Direct out with no signal interruption to master. Insert only to first click.
1. Order the Atlas AD-11B mic stand adapter available from many a fine music store. (It is made and distributed by Atlas Sound.) 2. Use three self-tapping machine screws 6-32 x 1/4" long to secure the adapter to the bottom of the 802-VLZ3. Do not use screws that are longer then 1/4" as these could damage the circuit boards. Do not use any shorter screws, or the adapter will not be securely fixed to the mixer.
Direct out with signal interruption to master. Insert all the way in to the second click.

STEREO PLUG

For use as an effects loop. (TIP = SEND to effect, RING = RETURN from effect.)

Figure F

Appendix C: Technical Information

Specifications

Main Mix Noise
(20 Hz20 kHz bandwidth, channels 13 gain @ unity gain, channel EQ flat, all channels assigned to main mix, channel 1 panned left, 2 panned right, 38 centered.) Main mix knob down, channel level knobs down: XLR: 95 dBu TRS: 101 dBu Main mix knob unity, channel level knobs down: XLR: 90 dBu TRS: 96 dBu Main mix knob @ unity, channel level knobs @ unity: XLR: 84 dBu TRS: 90 dBu

802-VLZ3

The 802-VLZ3 is a feature-packed, but ultra-compact model in the VLZ3 line of compact mixers, specially designed for applications that require fewer inputs but demand professional features and sound. The 802-VLZ3 is equipped with two mono mic/line channels, one mono mic/stereo line channel and two stereo line-input channels, for a total of eight input channels. Each mic/line channel has phantom power, an input Gain control with 60 dB of gain, a Hi-Z instrument switch (channels 1 and 2), a channel Insert jack (channels 1 and 2), a sharp 18 dB/octave, 100 Hz Low Cut filter, Aux send, 3-band EQ, Pan, Mute/Alt, Solo and a Level control. The stereo line-input channels have all the features of the mic/line channels except phantom power, an input Gain control, a Hi-Z instrument switch, a channel Insert jack and a Low Cut filter. 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 flexibility. The Control Room/Submix section 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. Aux Send 1 has a master level control and a switch for selecting pre- or post-fader send. There is a stereo return, with its own level control. Other features include a 1/4-inch stereo headphone jack with Level control, stereo 12-segment LED meters, and TRS and XLR stereo output jacks, with a mic/line level switch on the XLR outs (perfect for field recordings). The 802-VLZ3 is a great sounding mixer, full of professional features that are simply not found on competitive compact mixers. The versatile design and extremely small footprint make it the ideal mixer for space-constrained or mobile applications.
PROFESSIONAL ULTRACOMPACT MIXER

FEATURES:

Ultra-compact 8-channel mixer featuring Mackie VLZ3s signature low noise, high-headroom design 3 studio-grade XDR2 Extended Dynamic Range mic preamps with: Ultra-wide 60 dB gain range 130 dB dynamic range +22 dBu line input handling Extended low-frequency response Distortion under 0.0007% (20 Hz - 20 kHz) Phantom power for studio condenser mics Eight high-headroom line inputs Aux send, level, pan, and PFL solo on each channel Selectable DI inputs on first two channels Stereo Return for connecting effects processor or other stereo source 3-band active EQ (80 Hz, 2.5 kHz, 12 kHz) 18 dB/octave, 100 Hz low-cut filter on mic input channels Alt 3-4 stereo bus for added versatility Control Room/Phones source matrix High-resolution 12-segment stereo meters

APPLICATIONS

Live sound mixing, houses of worship, clubs, gymnasiums, banquet halls, conference rooms, boardrooms, studio and field recording, multimedia applications, broadcast, and many, many more.
Sealed rotary controls to resist dust and grime Includes Tracktion 3 Basic Bundle for Mac/PC (download required)

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802-VLZ3 SPECIFICATIONS

Main Mix Noise

(20 Hz to 20 kHz bandwidth, channels 1-3 Gain @ unity gain, channel EQs flat, channel 1 panned left, channel 2 panned right, channels 3-8 centered) Main Mix knob down, channel Level knobs down XLR: TRS: Main Mix knob @ unity, channel Level knobs down XLR: TRS: Main Mix knob @ unity, channel Level knobs @ unity XLR: TRS: 95 dBu 101 dBu 90 dBu 96 dBu 84 dBu 90 dBu

Maximum Levels

Mic In Tape In All other inputs Main Mix XLR Out All other outputs +21 dBu +22 dBu +22 dBu +28 dBu +22 dBu

Impedances

Mic In Channel Insert Return Alll other inputs 20 k Tape Out Phones Out All other outputs 3.4 k 5k or greater 1.0 k 60 120
Total Harmonic Distortion (THD)
(1 kHz @ 35 dB gain, 20 Hz to 20 kHz bandwidth) Mic pre @ insert 0.001%

Attenuation / Crosstalk

(1 kHz relative to 0 dBu, 20 Hz to 20 kHz bandwidth, Line In, 1/4 Main Out, Gain @ unity) Main Mix knob down Channel Alt / Mute switch engaged Channel Level knob down 75 dBu 100 dBu 100 dBu
High Shelving Mid Peaking Low Shelving 15 dB @ 12 kHz 15 dB @ 2.5 kHz 15 dB @ 80 Hz

AC Power Requirements

Power Consumption 13 watts VAC, Hz VAC, Hz 2-pin IEC 250 VAC 0 40C 32 104F

Frequency Response

(Mic In to any output @ 60 dB gain) 30 Hz to 30 kHz (Mic In to any output @ unity gain) 10 Hz to 100 kHz +0 dB / 3 dB +0 dB / 1 dB
US, JP EU, UK, AU, CN External Power Supply AC Connector Operating Temperature
Equivalent Input Noise (EIN)
(Mic In to Insert Send out, max gain) 150 termination, 20 Hz to 20 kHz bandwidth 129.5 dBu

External Power Supply

US Adapter (18.5 VAC x 2, 350 mA, US) EU Adapter (18.5 VAC x 2, 350 mA, EU) JP Adapter (18.5 VAC x 2, 350 mA, JP) UK Adapter (18.5 VAC x 2, 350 mA, UK) AU Adapter (18.5 VAC x 2, 350 mA, AU) P/N 0028090-00 P/N 0028090-01 P/N 0028090-02 P/N 0028090-03 P/N 0028090-04 P/N 0028090-05
Common Mode Rejection Ratio (CMRR)
Mic In to Insert Send out, max gain @ 1 kHz better than 60 dB
CN Adapter (18.5 VAC x 2, 350 mA, CN)

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802-VLZ3 SPECIFICATIONS CONTINUED.
Physical Properties (packaged product)
Height Width Depth Shipping Weight 15.8 in / 400 mm 12.0 in / 305 mm 4.5 in / 114 mm 6.8 lb / 3.1 kg

802-VLZ3 DIMENSIONS

Physical Properties (product)
Height Width Depth Net Weight (without power supply) Net Weight (with power supply) 10.7 in / 273 mm 8.9 in / 227 mm 1.8 in / 47 mm 4.5 lb / 2.0 kg 5.5 lb / 2.5 kg

Ordering Information

802-VLZ3 8-Ch. Compact Recording/SR Mixer, US 802-VLZ3 8-Ch. Compact Recording/SR Mixer, EU 802-VLZ3 8-Ch. Compact Recording/SR Mixer, JP 802-VLZ3 8-Ch. Compact Recording/SR Mixer, UK 802-VLZ3 8-Ch. Compact Recording/SR Mixer, AU 802-VLZ3 8-Ch. Compact Recording/SR Mixer, CN P/N 0027488-00 P/N 0027488-01 P/N 0027488-02 P/N 0027488-03 P/N 0027488-04 P/N 0027488-05

8.9 in / 227 mm MICROPHONE STAND
The bottom panel of the 802-VLZ3 has three non-threaded holes that allow it to be fitted with an optional microphone stand adapter. This lets you support the mixer on a standard mic stand, and adjust its height and level to whatever suits your preferences. The Atlas AD-11B mic stand adapter is available at many music stores. It is made and distributed by Atlas Sound. Use three self-tapping machine screws 6-32 x 1/4" long to secure the adapter to the bottom of the 802-VLZ3. Do not use screws longer than 1/4" as these could damage the circuit boards. Do not use screws shorter than 1/4", or the adapter will not be securely fixed to the mixer. Holes for microphone stand adapter

bottom panel

10.7 in / 273 mm

1.8 in / 47 mm

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L R Main L/3 Alt R/4 aux 1 (pre) aux 1 (post) solo(pfl) logic

Tape Line

Insert (Ch1-2 only) Main level
Main L/R Alt 3/4 bypass Low Cut LO 80 2.5K 12K

+4dBu Mic level

Mono Channels Ch 1/2 L sum

MID HI

phantom
Mic HPF 3-Band EQ Aux sends

48V phantom

Mic: 0 ~ +60dB Line: -15 ~ +45dB

R sum Level

Main out

802-VLZ3 BLOCK DIAGRAM

Global phantom power
solo Alt L/3 sum Alt R/4 sum

C/R Source

Alt3/4

Left/3 Alt out Right/4

Meter RUDE SOLO LED
Hybrid channel 3/4 3-Band EQ

LO 80 2.5K 12K MID HI

bypass Low Cut

L Level

LO MID HI CD/Tape

Main L/R Alt 3/4

CD/Tape in L

80 2.5K 12K

solo sum

Mic: 0 ~ +60dB

Control Room level

solo Aux sends

Control Room out Right
Stereo channels 5/6 and 7/8 3-Band EQ

off C/R to Main

solo logic
Main L/R Alt 3/4 LO 80 2.5K 12K MID HI

Phones level

Phones

pre post

Aux 1 sum

Aux 1 level

Aux 1 out

Stereo Return

L Main R L/3 Alt R/4 aux 1 (pre) aux 1 (post) solo (pfl) logic
NOTE: Switches are shown in the default (out) position.

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802-VLZ3 FRONT AND REAR PANELS

POWER ON POWER

2 MIC P RE XDR

MAIN OUT BALANCED

BAL/UNBAL

BAL OR UNBAL

BAL LINE IN 3 OR UNBAL

+4 MIC

MAIN OUT

LINE IN 1

LINE IN 2

MAIN OUTPUT LEVEL

TAPE IN MONO TAPE OUT

AUX SEND

BAL/UNBAL MONO

INSERT

dB -10GA V IN IC U M

LINE IN 4

LOW CUT 100 Hz 18dB/OCT

IC GAIN M

PHANTOM POWER

+15dB - 45dB

R LINE IN 7-8
ST RETURN ALT OUTPUT CR OUTPUT PHONES

LINE IN 5-6

PRE POST

MASTER SEND +10

STEREO RETURN

HI 12kHz

CONTROL ROOM SOURCE

LEFT RIGHT

0dB=0dBu 20 15

MID 2.5kHz

-15 +15 U -15 +15 U

-15 +15 U

MAIN MIX

LOW 80Hz

-15 +15 -15 +15

-15 +15

ALT 3-4

L R L R

10 LEVEL SET
ASSIGN TO MAIN MIX RUDE SOLO

PRE FADER

PHONES

CTL ROOM/SUBMIX

Electronic files for this product are available at: www.mackie.com
Specification Sheet Owners Manual 802VLZ3_SS.PDF 802VLZ3_OM.PDF
www.mackie.com 16220 Wood-Red Road NE Woodinville, WA 98072 USA 800-898-3211, Fax 425-487-4337, sales@mackie.com Part No. SW0770 Rev. B 12/10
Since we are always striving to make our products better by incorporating new and improved materials, components, and manufacturing methods, we reserve the right to change these specifications at any time without notice. Mackie and the Running Man figure are registered trademarks of LOUD Technologies Inc. All other brand names mentioned are trademarks or registered trademarks of their respective holders, and are hereby acknowledged. 2010 LOUD Technologies Inc. All Rights Reserved.

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