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1202-VLZ3
12-Channel Mic/Line Mixer
OWNER’S MANUAL
POWER PHANTOM
CAUTION CAUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT SERIAL NUMBER MANUFACTURING DATE
ON ON
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
RISK OF ELECTRIC SHOCK NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
DO NOT OPEN
AVIS: RISQUE DE
ページ2に含まれる内容の要旨
Important Safety Instructions 1. Read these instructions. 13. Unplug this apparatus during lightning storms or when unused for long periods of time. 2. Keep these instructions. 14. Refer all servicing to qualifi ed service personnel. Servicing is required 3. Heed all warnings. when the apparatus has been damaged in any way, such as power- 4. Follow all instructions. supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been expose
ページ3に含まれる内容の要旨
Owner’s Manual Other Nuggets of Wisdom Read This Page! For optimum sonic performance, the channel LEVEL We realize that you must be dying to knobs and the MAIN MIX knob should be set near the try out your new 1202-VLZ3. All we ask is “U” (unity gain) markings. that you read this page NOW, and the rest can wait until you’re good and ready. But Always turn the MAIN MIX and CONTROL ROOM/ do read it — you’ll be glad you did. SUBMIX level controls down before making connections to and from you
ページ4に含まれる内容の要旨
Introduction Thank you for choosing a Mackie professional com- This icon marks infor mation that is critically pact mixer. The 1202-VLZ3 is equipped with our pre- important or unique to the 1202-V LZ3. For your TM cision-engineered XDR Extended Dynamic Range own good, read them and remember them. They premium studio-grade mic preamp. will be on the fi nal test. Now that you have your 1202-VLZ3, fi nd out how to get This icon will lead you to in-depth explana- the most from it. That’s where t
ページ5に含まれる内容の要旨
Owner’s Manual Contents Important Safety Instructions .................................. 2 Output Section ...................................................... 16 Read This Page! ...................................................... 3 32. MAIN MIX .............................................16 Introduction ............................................................ 4 33. CONTROL ROOM SOURCE MATRIX .......... 16 Hookup Diagrams .................................................... 6 34. CONTR
ページ6に含まれる内容の要旨
CHANNEL INPUTS IN-TAPE-OUT PHONES CONTROL RM OUT OUTPUTS Hookup Diagrams Vocal Mics Mono Compressor In 1 Direct 1 1 Out Boxes 2 2 2 In 3 3 3 Stereo Compressor Out In 4 4 4 Out L 5 MONO L 1 R Stereo Guitar Effects 6 R Drum Digital Delay L 7 Machine MONO L Keyboard or other 2 8 R R line level input Multi Effect Processor L 9 MONO 1 R 10 2 L 11 MONO L 12 R R Out L R Tape Player (play) L L R R In (record) Headphones for Studio Powered Powered Studio Monitors Headphone Distribution
ページ7に含まれる内容の要旨
Owner’s Manual CHANNEL INPUTS IN-TAPE-OUT PHONES CNTRL ROOM OUT OUTPUTS Bass Guitar Way-cooler Guitar dad bought Guitar dad your kid brother bought you for his for your birthday birthday Vocal Mics Mono Compressor In 1 Direct 1 1 Out Boxes 2 2 2 In 3 3 3 Stereo Compressor Out 4 In 4 4 Out Stereo Guitar Effects L 5 L MONO 1 R 6 R Drum Machine L 7 MONO L 2 Keyboard or other R 8 R line level input L 9 MONO Multi Effect 1 Processor R 10 2 L 11 MONO L Stage Monitors R 12 Mono Power
ページ8に含まれる内容の要旨
N N N N E E E E I I I I V V V V R R R R A A A A P P P P B B B B C C C C I I I I d d d d G G G G CAUTION Patchbay Description ALL BAL/UNBAL L /MONO R BAL/UNBAL MIC 1 MIC 2 MIC 3 MIC 4 TAPE TAPE INPUT OUTPUT 1 1 L L L 1 L R 2 2 R R R BAL BAL BAL BAL OR OR OR OR AUX SEND MAIN OUT UNBAL UNBAL UNBAL UNBAL 2 MONO MONO MONO MONO LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 L L L L LOW CUT LOW CUT LOW CUT LOW CUT 75 Hz 75 Hz 75 Hz 75 Hz BAL BAL BAL BAL 18dB/OCT 18dB/OCT 18dB/O
ページ9に含まれる内容の要旨
Owner’s Manual N I V A B d G 3. LOW CUT (Channels 1–4) 5. STEREO LINE INPUTS (Channels 5–6, 7–8, 9–10 and 11–12)CAUTION Each LOW CUT switch, often referred to as a High Pass Filter (all depends on how you look at it), cuts bass These fully balanced inputs are designed for stereo or frequencies below 75 Hz at a rate of 18 dB per octave. mono, balanced or unbalanced signals, from –10 dBV to +4 dBu. They can be used with just about any profes- We recommend that you use low-cut on every mi
ページ10に含まれる内容の要旨
N N N N E E E E I I I I V V V V R R R R A A A A P P P P B B B B C C C C I I I I d d d d G G G G CAUTION 7 8 9 10 11 ALL BAL/UNBAL L /MONO R BAL/UNBAL MIC 1 MIC 2 MIC 3 MIC 4 TAPE TAPE INPUT OUTPUT 1 1 L L L L R 2 2 R R R BAL BAL BAL BAL OR OR OR OR AUX SEND MAIN OUT UNBAL UNBAL UNBAL UNBAL MONO MONO MONO MONO LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 L L L L LOW CUT LOW CUT LOW CUT LOW CUT 75 Hz 75 Hz 75 Hz 75 Hz BAL BAL BAL BAL 12 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OC
ページ11に含まれる内容の要旨
Owner’s Manual POWER PHANTOM C CAUTION AUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT SERIAL NUMBER MANUFACTURING DATE ON ON EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. RISK OF ELECTRIC SHOCK NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. DO NOT OPEN AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR REPLACE WITH THE SAME TYPE FUSE AND RATING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DISCONNECT SUPPLY CORD BEFORE CHANGING FUS
ページ12に含まれる内容の要旨
21 22 POWER PHANTOM SERIAL NUMBER MANUFACTURING DATE C CAUTION AUTION WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT ON ON EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER. RISK OF ELECTRIC SHOCK NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. DO NOT OPEN AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR REPLACE WITH THE SAME TYPE FUSE AND RATING. UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE DEBRAN
ページ13に含まれる内容の要旨
Owner’s Manual CAUTION Channel Strip Description The eight channel strips look alike, and function iden- mix, or to just check out what a particular channel is up tically. The only difference is that the four on the left to anytime during a session. You can solo as many chan- are for individual mics or mono instruments and have nels at a time as you like. more gain available, while the next four are for either Solo is also the key player in the Level- Setting Proce- stereo or mono line-level s
ページ14に含まれる内容の要旨
CAUTION TROL ROOM [15] and PHONES [12] output s. If you CONSTANT LOUDNESS ! ! ! want the ALT 3–4 signals to go back into the main mix, The 1202-VLZ3’s PAN controls employ a design called engage the ASSIGN TO MAIN MIX [36] switch, and the “Constant Loudness.” It has nothing to do with living CONTROL ROOM/SUBMIX [34] level control becomes next to an all-night disco. As you turn the PAN [26] the one knob to control the levels of all the channels knob from left to right (thereby causing t
ページ15に含まれる内容の要旨
Owner’s Manual Each AUX send level ranges from off through unity 29. HI EQ (the center detent position) on up to 15 dB of extra gain This control gives you up +15 (when turned fully clockwise). Chances are you’ll never to 15 dB boost or cut above +10 need this extra gain, but it’s nice to know it’s there if 12 kHz, and it is also fl at +5 you do. at the detent. Use it to add 0 sizzle to cymbals, and an –5 Channel 5–12 AUX knobs control the mono sum of –10 overall sense of transpar- the c
ページ16に含まれる内容の要旨
CAUTION Output Section 33. 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 1202- VLZ3, the engineer has several choices of what to listen to. This is one of those tricky parts, so brace yourself. POWER Via these SOURCE switches, you can choose to listen LEFT RIGHT CONTROL 0dB=0dBu to any combination of main m
ページ17に含まれる内容の要旨
Owner’s Manual Whatever your selection, you can also use the CON- 36. ASSIGN TO MAIN MIX TROL ROOM [15] outputs for other applications. Its Let’s say you’re doing a live show. Intermission is near- sound quality is just as impeccable as the MAIN OUTS ing and you’ll want to play a soothing CD for the crowd [11 and 13]. It can be used as additional main mix to prevent them from eating the furniture. Then you output, which may sound silly since there are already think, “But I have the CD play
ページ18に含まれる内容の要旨
CAUTION At the risk of creating another standard, Mackie’s These outputs can be fed to the inputs of a reverb or compact mixers address the need of both crowds by other device. From there, the outputs of this external calling things as they are — 0 dBu (0.775 V) at the device are fed back to the mixer’s STEREO RETURN [7] output shows as 0 dB VU on the METERS. What could jacks. Then these signals are sent through the STEREO be easier? By the way, the most wonderful thing about RETURN [40] lev
ページ19に含まれる内容の要旨
Owner’s Manual Typically, these knobs can just live at the center Engage the RETURN TO AUX 1 switch, and now the detent, and the effects device’s output control should STEREO RETURN 2 knob will become an additional be set at whatever they call unity gain (check their AUX SEND 1 knob for the signal at AUX RETURN 1. Say manual). If that turns out to be too loud or too quiet, that ten times! Once again, AUX RETURN 1 will behave adjust the effects device’s outputs, not the mixer. That normally,
ページ20に含まれる内容の要旨
Appendix A: Service Information Warranty Service Repair Details concerning the Limited Warranty are spelled Service for Mackie products is available at a factory- out on page 27 of this manual. authorized service center. Service for Mackie products living outside the United States can be obtained through If you think your 1202-VLZ3 has a problem, please local dealers or distributors. check out the following troubleshooting tips and do your best to confi rm the problem. Visit the Support secti
