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1202-VLZ3
1202-VLZ3
At the risk of creating another standard, Mackie’s
compact mixers address the need of both crowds by
calling things as they are — 0 dBu (0.775 V) at the
output shows as 0 dB VU on the METERS. What could
be easier? By the way, the most wonderful thing about
standards is that there are so many to choose from.
Remember, audio meters are just tools to help assure
you that your levels are “in the ballpark.” You don’t have
to stare at them (unless you want to).
A Word About Aux
First of all, there is no particular alliance between
AUX SEND 1 (or 2) and STEREO RETURN 1 (or 2).
They’re just numbers. They’re like two complete strang-
ers.
SENDS are outputs, RETURNS are inputs. The chan-
nel AUX [30 and 31] knobs tap the signal off the chan-
nel and sends it to the AUX SEND [8] outputs. AUX 1
signal is sent to the AUX 1 MASTER [39] knob before
going to the AUX SEND 1 [8] output and the AUX 2
signal goes directly to the AUX SEND 2 [8] output.
CAUTION
POWER
RUDE
SOLO
LIGHT
LEVEL
SET
CONTROL
ROOM
SOURCE
ALT 3
–
4
TAPE
MAIN MIX
CLIP
LEFT RIGHT
0dB=0dBu
A
SSIGN
SSIGN
TO
TO
MA
MA
IN M
IN MIX
MAIN MIX
/SUBMIXCTL ROOM
MAX
OO
U
+12dB
OO
U
20
10
7
4
2
0
2
4
7
10
20
30
38
39
41
40
These outputs 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 mixer’s STEREO RETURN [7]
jacks. Then these signals are sent through the STEREO
RETURN [40] level controls, 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 [7] to the main mix, and once mixed
together, the dry and wet signals combine to create a
glorious sound. So, armed with this knowledge, let’s visit
the Auxiliary World:
38. PRE or POST (AUX 1)
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
they’re doing. On the 1202-VLZ3, AUX SEND 1 can play
either role, depending on the position of this switch.
With this switch up (disengaged), AUX SEND 1 will
tap a channel pre-fader (LEVEL) 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 channel’s signal. This is the
preferred method for setting up stage monitor feeds. EQ
settings will affect all AUX SENDs.
With the switch down, the AUX SEND 1 becomes an
ordinary effects send — post-fader (LEVEL) and post-
MUTE/ALT 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.”
39. AUX 1 MASTER
This knob provides overall level control of AUX SEND
1, just before it’s delivered to the AUX SEND 1 [8] out-
put. (AUX SEND 2 has no such control.) This knob goes
from off (turned fully down), to unity gain at the center
detent, with 10 dB of extra gain (turned fully up). As
with some other level controls, you may never need the
additional gain, but if you ever do, you’ll 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, you’d turn the knob
down… but that never happens.)
40. STEREO RETURNS
These two controls set the overall level of effects re-
ceived from STEREO RETURN [7] 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 20 dB
gain fully clockwise, to compensate for low-level effects.