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1202-VLZ3
1202-VLZ3
TROL ROOM [15] and PHONES [12] output s. If you
want the ALT 3–4 signals to go back into the main mix,
engage the ASSIGN TO MAIN MIX [36] switch, and the
CONTROL ROOM/SUBMIX [34] level control becomes
the one knob to control the levels of all the channels
assigned to ALT 3–4.
Another way to do the same thing is assign the chan-
nels to the ALT 3–4 mix, then patch out of the ALT 3–4
OUTPUT [16]back into an unused stereo channel LINE
INPUT [2]. If that’s your choice, don’t ever engage the
MUTE/ALT 3–4 switch on that stereo channel, or you’ll
have every dog in the neighborhood howling at your
feedback loop.
Another benefi t of the ALT 3–4 feature is that it can
act as a “SIP” (Solo-In-Place): just engage a channel's
MUTE/ALT 3–4 switch and the ALT 3–4 switch in the
SOURCE matrix and you’ll get that channel, all by itself,
in the control room and phones.
MUTE/ALT 3–4 is one of those controls that can bewil-
der newcomers, so take your time and play around with
it. Once you’ve got it down, you’ll probably think of a
hundred uses for it!
26. PAN
PAN adjusts the amount of
channel signal sent to the left
versus the right outputs. On
mono channels (ch. 1–4 or
5–12 with connections to the L
input only) these controls act
as pan pots. On stereo channels
(5–12) with stereo connections
to L and R inputs, the PAN knob
works like the balance control
on your home stereo.
PAN determines the fate of
the main mix and ALT 3–4 mix.
With the PAN knob hard left,
the signal will feed either MAIN
OUT L (bus 1) or ALT OUTPUT
L (bus 3), depending on the
position of the ALT 3–4 switch.
With the knob hard right, the
signal feeds MAIN OUT R (bus
2) or ALT OUTPUT R (bus 4).
CONSTANT LOUDNESS ! ! !
The 1202-VLZ3’s PAN controls employ a design called
“Constant Loudness.” It has nothing to do with living
next to an all-night disco. As you turn the PAN [26]
knob from left to right (thereby causing the sound to
move from the left to the center to the right), the sound
will appear to remain at the same volume (or loudness).
If you have a channel panned hard left (or right) and
reading 0 dB, it must dip down about 4 dB on the left
(or right) when panned center. To do otherwise (the
way Brand X compact mixers do) would make the sound
appear much louder when panned center.
3-BAND EQ
The 1202-VLZ3 has 3-band equalization at carefully
selected points — LOW shelving at 80 Hz, MID peaking
at 2.5 kHz, and HI shelving at 12 kHz. “Shelving” means
that the circuitry boosts or cuts all frequencies past the
specifi ed frequency. For example, rotating the LOW EQ
knob 15 dB to the right boosts bass starting at 80 Hz and
continuing down to the lowest note you never heard.
“Peaking” means that certain frequencies form a “hill”
around the center frequency — 2.5 kHz in the case of
the MID EQ.
27. LOW EQ
This control gives you
up to 15 dB boost or cut
below 80 Hz. The circuit is
fl at (no boost or cut) at the
center detent position. This
frequency represents the
punch in bass drums, bass
guitar, fat synth patches,
and some really serious
male singers.
Used in conjunction with
the LOW CUT [3] switch,
you can boost the LOW EQ
without injecting a ton of
subsonic debris into the
mix.
28. MID EQ
Short for “midrange,”
this knob provides 15 dB
of boost or cut, centered at
2.5 kHz, also fl at at the cen-
ter detent. Midrange EQ
is often thought of as the
most dynamic, because the
frequencies that defi ne 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.
CAUTION
OO
+15
OO
+15
AUX
+15-15
+15-15
+15-15
HI
12kHz
MID
2.5kHz
LOW
80Hz
EQ
L R
1
MUTE
PAN
ALT 3
–
4
PRE FADER
SOLO
LEVEL
ASSIGN
TO MAIN MIX
+12dB
OO
U
U
U
U
U
U
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
Mid EQ
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
Low EQ with Low Cut
Low EQ
26
27
29
28
30
31