1202-VLZ3
12-Channel Mic/Line Mixer
O W N E R ’ S M A N U A L
POWER
ON
PHANTOM
ON
SERIAL NUMBER
MANUFACTURING DATE
CAUTION
WARNING: 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.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE
—
NE PAS OUVRIR
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
CONTROL
ROOM
ALT
OUTPUT
BAL/UNBAL
CHANNEL INSERT
PRE-FADER / PRE EQ TIP SEND / RING RETURN
BLALMANACINED
(
)
BAL/UNBAL
R
L
R/4
L/3
4
3
2
1
MAIN
OUTPUT
LEVEL
R
R
ALL BAL/UNBAL
1
BAL/UNBAL
L /MONO
MIC
MIC
MIC
MIC
TAPE
TAPE
1
2
4
3
INPUT OUTPUT
1
2
L
L
L
L
2
R
R
R
BAL
OR
BAL
BAL
OR
BAL
OR
MAIN OUT
MONO
OR
AUX SEND
MONO
UNBAL
UNBAL
UNBAL
UNBAL
MONO
MONO
L
LINE IN 1
LINE IN 2
LINE IN 3
LINE IN 4
L
L
L
LOW CUT
LOW CUT
LOW CUT
LOW CUT
75 Hz
75 Hz
75 Hz
75 Hz
BAL
OR
BAL
OR
BAL
OR
BAL
OR
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
UNBAL
UNBAL
UNBAL
UNBAL
U
U
U
U
R
R
R
R
0
60
0
60
0
60
0
60
+15dB-45dB
GAIN
+15dB-45dB
GAIN
+15dB-45dB
GAIN
+15dB-45dB
GAIN
–
–
–
–
LINE IN 5
U
6
LINE IN 7
U
8
LINE IN 9 10
LINE IN 11 12
U
U
U
U
U
U
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
O O +15
O O +15
O O +15
O O +15
O O +15
O O +15
O O +15
O O +15
U
U
U
U
U
U
U
U
O O +15
O O +15
O O +15
O O +15
O O +15
O O +15
O O +15
O O +15
U
U
U
U
U
U
U
U
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
POWER
HI
HI
HI
HI
HI
HI
HI
HI
LEFT RIGHT
0dB=0dBu
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
CONTROL
ROOM
SOURCE
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
20
10
7
CLIP
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MID
2.5kHz
MAIN MIX
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
-15 +15
U
4
2
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
LOW
80Hz
–
ALT 3
4
0
2
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
4
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
TAPE
LEVEL
SET
7
10
20
30
L
R
L
R
L
R
L
R
L
R
L
R
L
R
L
R
1
2
3
4
5/6
7/8
9/10
11/12
MUTE
ALT 3
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
–
–
–
–
–
–
–
–
4
ALT 3
4
ALT 3
4
ALT 3
4
ALT 3
4
ALT 3
4
ALT 3
4
ALT 3
4
ASSIGN
RUDE
SOLO
LIGHT
TO MAIN MIX
PRE FADER
SOLO
PRE FADER
SOLO
PRE FADER
SOLO
PRE FADER
SOLO
PRE FADER
SOLO
PRE FADER
SOLO
PRE FADER
SOLO
PRE FADER
SOLO
U
U
U
U
U
U
U
U
U
U
O O +12dB
O O +12dB
O O +12dB
O O +12dB
O O +12dB
O O +12dB
O O +12dB
O O +12dB
O O
MAX
O O +12dB
CTL ROOM /SUBMIX
MAIN MIX
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
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Other Nuggets of Wisdom
Read This Page!
For optimum sonic performance, the channel LEVEL
knobs and the MAIN MIX knob should be set near the
“U” (unity gain) markings.
We realize that you must be dying to
try out your new 1202-VLZ3. All we ask is
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/
SUBMIX level controls down before making connections
to and from your 1202-VLZ3.
do read it — you’ll be glad you did.
WARNING: Before you plug the AC power
cord into the mixer, make sure the VOLTAGE
SELECTOR switch is set to the same voltage
as your local AC mains supply (see page 12).
If you shut down your equipment, turn off your ampli-
fier or powered speakers first. When powering up, turn
them on last.
Save the shipping box! You may need it someday.
Level-Setting Procedure
Instant Mixing
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.
Here’s how to get going right away, assuming you have
a microphone and a keyboard:
1. Plug your microphone into channel 1’s MIC
input.
2. Turn on the 1202-VLZ3.
Adjusting input levels (Chs. 1–4 only)
3. Perform the Level-Setting Procedure.
On the first four channels, it’s not even necessary to
hear what you’re doing to set optimal levels. But if you’d
like to: Plug headphones into the PHONES jack, then
set the CONTROL ROOM/SUBMIX knob about one-quar-
ter of the way up.
4. Connect cords from the MAIN OUTS (XLR, 1⁄4"
or RCA, your choice) to your amplifier.
5. Hook up speakers to the amp and turn it on.
6. Turn up the 1202-VLZ3’s channel 1 LEVEL knob
to the center detent and the MAIN MIX knob
one quarter of the way up.
The following steps must be performed one channel at
a time:
7. Sing like a canary!
1. Turn the GAIN, LEVEL and AUX send knobs
fully down (counterclockwise).
8. Plug your keyboard into stereo channel 5-6.
2. Set the EQ knobs at the center detent.
3. Connect the signal source to the input.
4. Engage (push in) the SOLO switch.
9. Turn that channel’s LEVEL knob to the center
detent.
10. Play like a madman and sing like a canary!
It’s your first mix!
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 isn’t, you might have to read-
just these levels during the middle of the set.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
6. Adjust the channel’s GAIN control so that the
display on the right LED meter stays around “0”
and never goes higher than “+7.”
Purchased at:
7. If you’d like to apply some EQ, do so now and
return to step 6.
8. Disengage that channel’s SOLO switch.
9. Repeat for each of channels 1 through 4.
Date of purchase:
Part No. 0019814 Rev. A
©2006 LOUD Technologies Inc. All Rights Reserved.
(Only trained professional union stunt hamsters were used to staple this manual.)
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Owner’s Manual
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Introduction
Thank you for choosing a Mackie professional com-
pact mixer. The 1202-VLZ3 is equipped with our pre-
cision-engineered XDRTM Extended Dynamic Range
premium studio-grade mic preamp.
This icon marks information that is critically
important or unique to the 1202-VLZ3. For your
own good, read them and remember them. They
will be on the final test.
Now that you have your 1202-VLZ3, find out how to get
the most from it. That’s where this manual comes in.
This icon will lead you to in-depth explana-
tions of features and practical tips. While not
mandatory, they usually have some valuable
nuggets of information.
How To Use This Manual
Since many of you folks will want to hook up your
1202-VLZ3 immediately, the first pages you will en-
counter after the table of contents are the ever-popular
hookup diagrams. These show typical mixer setups for
Record/Mixdown, and Stereo PA.
Appendix A is a section on troubleshooting and repair
information.
Appendix B is a section on connectors: XLR connec-
tors, TRS balanced connectors, TS unbalanced connec-
tors, and Insert connectors.
After this section is a detailed tour of the entire mixer.
Every feature of the 1202-VLZ3 is described “geographi-
cally;” in other words, in order of where it is physically
placed on the mixer’s top or rear panel. These descrip-
tions are divided into the first three sections, just as
your mixer is organized into three distinct zones:
Appendix C shows the technical specifications, and
a block diagram showing the internal signal path and
general goings-on within the mixer.
Patchbay: The patchbay along the top and back,
where you connect things.
Channel Strip: The eight channel strips where you
adjust each channel.
Output Section: The output section on the right.
Throughout these sections you’ll find illustrations,
with each feature numbered. If you’re 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.
Need help with your new mixer?
FAQs (Frequently Asked Questions), manuals, addendums, and
user forums.
• Telephone 1-800-898-3211 to speak with one of our splendid
technical support representatives, (Monday through Friday,
from 7 a.m. to 5 p.m. PST).
4
1202-VLZ3
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Contents
Appendix C: Technical Information .......................... 24
Specifications.................................................. 24
Block Diagram................................................. 25
Track Sheet..................................................... 26
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Hookup Diagrams
Vocal Mics
Mono Compressor
Stereo Compressor
In
1
Direct
Boxes
1
2
3
4
Out
2
3
4
In
Out
In
Out
L
5
6
L
MONO
1
2
R
Stereo Guitar Effects
R
Drum
Machine
Digital Delay
L
7
8
MONO
L
Keyboard or other
line level input
R
R
Multi Effect
Processor
L
9
MONO
1
2
R
10
L
11
12
MONO
L
R
R
Out
L
L
R
R
Tape Player
(play)
L
R
In
(record)
Headphones
for Studio
Powered
Studio Monitors
Powered
Headphone Distribution Amp
Studio Monitors
for Studio
Recording System
6
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Bass Guitar
Way-cooler
Guitar dad bought
your kid brother
for his
Guitar dad
bought you
for your
birthday
birthday
Vocal Mics
Mono Compressor
Stereo Compressor
In
1
Direct
Boxes
1
2
3
4
Out
2
In
3
Out
In
4
Out
Stereo Guitar Effects
Drum
L
5
L
MONO
1
R
6
R
Machine
L
7
MONO
L
2
Keyboard or other
R
8
R
line level input
L
9
MONO
Multi Effect
Processor
1
2
R
10
L
11
12
MONO
L
Stage Monitors
R
Mono Power
Amplifier
Mono EQ
R
L
L
R
R
L
R
Out
Tape Player
(play)
In
(record)
Stereo
EQ
Headphones
SRM450
Powered
Speaker
SRM450
Powered
Speaker
This setup can be easily reconfigured to become
a Mono PA setup.
A. Stereo sources should feed the left mono
side of channel input only.
B. Pan each channel hard left.
C. Connect Mono PA system to
Left main output.
SWA1501
Powered
SWA1501
Powered
Subwoofer
Subwoofer
Live Stereo PA System
7
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Patchbay Description
ALL BAL/UNBAL
1
BAL/UNBAL
R
R
L /MONO
MIC
MIC
MIC
MIC
TAPE
TAPE
1
2
4
3
INPUT OUTPUT
1
L
L
L
1
L
2
2
R
R
R
BAL
OR
BAL
OR
BAL
OR
BAL
OR
MAIN OUT
MONO
AUX SEND
MONO
UNBAL
UNBAL
UNBAL
UNBAL
2
3
4
MONO
MONO
L
LINE IN 1
LINE IN 2
LINE IN 3
LINE IN 4
L
L
L
LOW CUT
LOW CUT
LOW CUT
LOW CUT
75 Hz
75 Hz
75 Hz
75 Hz
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
5
5
5
5
U
U
U
U
R
R
R
R
0
60
0
60
0
60
0
60
+15dB-45dB
GAIN
+15dB-45dB
GAIN
+15dB-45dB
GAIN
+15dB -45dB
GAIN
–
–
–
–
LINE IN 5
6
LINE IN 7
8
LINE IN 9 10
LINE IN 11 12
At the risk of stating the obvious, this is where you
The 1202-VLZ3’s phantom power is globally controlled
plug everything in: microphones, line-level instruments
and effects, headphones, and the ultimate destination
for your sound: a tape recorder, PA system, etc.
by the PHANTOM [22] switch on the rear panel. (This
means the phantom power for channels 1-4 is turned on
and off together.)
See Appendix B for further details and drawings of
the connectors you can use with the 1202-VLZ3. Also see
the Channel Strip description on page 13 for details of
the signal routing from the XLR and Line inputs.
Never plug single-ended (unbalanced)
microphones or instruments into the MIC [1]
input jacks if the phantom power is on.
Do not plug instrument outputs into the
MIC input jacks with phantom power on,
unless you know for certain it is safe to do so.
1. MIC INPUTS (Channels 1–4)
We use phantom-powered, balanced microphone
inputs just like the big studio mega-consoles, for exactly
the same reason: This kind of circuit is excellent at re-
jecting hum and noise. You can plug in almost any kind
of mic that has a standard XLR male mic connector.
2. LINE INPUTS (Channels 1–4)
These four line-inputs share circuitry (but not phan-
tom power) with the mic preamps, and can be driven
by balanced or unbalanced sources at almost any level.
You can use these inputs for virtually any signal you’ll
come across, from instrument levels as low as –40 dB to
Professional ribbon, dynamic, and condenser mics
will all sound excellent through these inputs. The
1202-VLZ3’s mic inputs will handle any kind of mic level operating levels of –10 dBV to +4 dBu, since there is 40
you can toss at them, without overloading. Be sure to
perform the Level-Setting Procedure on page 3.
dB more gain available than on channels 5–12.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, the type found on stereo
headphones.
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. These boxes
convert unbalanced line-level signals from your guitar,
into balanced mic-level outputs, and provide signal and
impedance matching. They also let you send your gifted
guitar renditions over long cables or audio snakes, with
minimum interference and high-frequency signal loss.
Ask your dealer or guitar maker about their recommen-
dations for a good DI box.
To connect unbalanced lines to these inputs, use a
1⁄4" mono (TS) phone plug or standard instrument
cable.
The LINE IN inputs 1–4 are a good place to connect
older instruments that need more gain. You can correct
weak levels by adjusting the corresponding channel’s
GAIN control.
PHANTOM POWER
Most modern professional condenser mics are
equipped for phantom power, which lets the mixer
send low-current DC voltage to the mic’s electronics
through the same wires that carry audio. (Semi-pro
condenser mics often have batteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
be “unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need external power and aren’t
affected by it anyway.
8
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3. LOW CUT (Channels 1–4)
5. STEREO LINE INPUTS
(Channels 5–6, 7–8, 9–10 and 11–12)
Each LOW CUT switch, often referred to as a High
Pass Filter (all depends on how you look at it), cuts bass
frequencies below 75 Hz at a rate of 18 dB per octave.
These fully balanced inputs are designed for stereo or
mono, balanced or unbalanced signals, from –10 dBV to
+4 dBu. They can be used with just about any profes-
sional or semi-pro instrument, effect or tape player.
We recommend that you use low-cut on every micro-
phone application except kick drum, bass guitar, bassy
synth patches, or recordings of earthquakes. These
aside, there isn’t much down there that you want to
In the stereo audio world, an odd-numbered chan-
nel usually receives the “left signal.” For example, you
hear, and filtering it out makes the low stuff you do want would feed the 1202-VLZ3’s line inputs 5-6 a stereo
much more crisp and tasty. Not only that, but low-cut signal by inserting the device’s left output plug into the
can help reduce the possibility of feedback in live situa- channel 5 jack, and its right output plug into the chan-
tions, and it helps to conserve amplifier power.
nel 6 jack.
Another way to consider low-cut’s function is that it
actually adds flexibility during live performances. With
the addition of low-cut, you can safely use low equaliza-
tion on vocals. Many times, bass shelving EQ can really
benefit voices. Trouble is, adding low EQ also boosts
stage rumble, mic handling clunks and breath pops.
Applying low-cut removes all those problems, so you can
add low EQ without losing a woofer.
When connecting a mono device (just one cord),
always use the LEFT (MONO) input (jacks 5, 7, 9 or 11)
and plug nothing into the RIGHT input (jacks 6, 8, 10 or
12)— this way the signal will appear on both sides. This
trick is called “jack normalling.”
6. IMAGINARY CONTROL
This control is purely a figment of our imagination. It
will come in handy after long hours of mixing, when you
really would like a nice cup of tea, a vacation in Hawaii,
or a trip to the outer reaches of the Solar System. This
is the control for you. Be thankful, you bought a Mackie.
We love you man!
Here’s what the combination of low EQ and low-cut
looks like in terms of frequency curves:
+15
+10
+15
+10
+5
0
+5
0
–5
–5
EFFECTS: SERIAL OR PARALLEL?
–10
–15
–10
–15
The next two sections toss the terms “serial” and
“parallel” around like hacky sacks. Here’s what we mean
by them:
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
100Hz
1kHz
10kHz 20kHz
Low Cut with Low EQ
Low Cut
“Serial” means that the entire signal is routed through
the effects device. Examples: compressor/limiters,
graphic equalizers. Line-level 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 [17] send/return).
4. GAIN (Channels 1–4)
If you haven’t already, please read the Level-Setting
Procedure on page 3.
GAIN adjusts the input sensitivity of the mic and line
inputs connected to channels 1 through 4. This allows
signals from the outside world to be adjusted to optimal
internal operating levels.
Insert
Send
Insert
Return
Signal Processor
(e.g., Compressor)
If the signal originates through the
XLR jack, there will be 0 dB of gain with
Processed
Signal
Dry Signal
U
the knob fully down, ramping to 60 dB
of gain fully up.
“Parallel” means that a portion of the signal in the
mixer is tapped off to the device (AUX SEND), pro-
cessed and returned to the mixer (STEREO 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.
0
60
+15dB-45dB
GAIN
Through the 1⁄4" input, there is 15
dB of attenuation fully down and 45 dB of gain fully
up, with a “U” (unity gain) mark at 10:00. This 15 dB of
attenuation can be very handy when you are inserting
a very hot signal, or when you want to add a lot of EQ
gain, or both. Without this “virtual pad,” this scenario
might lead to channel clipping.
Aux
Aux
Output
Section
Send
Return
Signal Processor
(e.g., Reverb)
Wet Signal
Mix
Processed
Signal
Stage
Channel Path
Dry Signal(s)
Dry Signal(s)
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7
8
ALL BAL/UNBAL
1
9 10 11
BAL/UNBAL
R
R
L /MONO
MIC
MIC
MIC
MIC
TAPE
TAPE
1
2
4
3
INPUT OUTPUT
1
L
L
L
L
2
2
R
R
R
BAL
OR
BAL
OR
BAL
OR
BAL
OR
MAIN OUT
MONO
AUX SEND
MONO
UNBAL
UNBAL
UNBAL
UNBAL
MONO
MONO
L
LINE IN 1
LINE IN 2
LINE IN 3
LINE IN 4
L
L
L
LOW CUT
LOW CUT
LOW CUT
LOW CUT
75 Hz
75 Hz
75 Hz
75 Hz
BAL
OR
BAL
OR
BAL
OR
BAL
OR
12
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
UNBAL
UNBAL
UNBAL
UNBAL
U
U
U
U
R
R
R
R
0
60
0
60
0
60
0
60
+15dB-45dB
GAIN
+15dB-45dB
GAIN
+15dB-45dB
GAIN
+15dB -45dB
GAIN
–
–
–
–
LINE IN 5
6
LINE IN 7
8
LINE IN 9 10
LINE IN 11 12
Use these jacks for convenient tape playback of your
7. STEREO RETURNS
mixes. You’ll be able to review a mix and then rewind
and try another pass without repatching or disturbing
the mixer levels. You can also use these jacks with a
portable tape or CD player to feed music to a PA system
between sets.
This is where you connect the outputs of your par-
allel effects devices (or extra audio sources). These
balanced inputs are similar to the stereo LINE IN [2]
inputs (without EQ, Aux Sends, Pan, Mute, and Solo).
The circuits will handle stereo or mono, balanced or
unbalanced signals, either instrument level, –10 dBV
or +4 dBu. They can be used with just about any pro or
semipro effects device on the market. The signals com-
ing into these inputs can be adjusted using the STEREO
RETURN [40] knobs before passing onto the main mix
bus, see page 19.
WARNING: Engaging both the TAPE and
ASSIGN TO MAIN MIX buttons in the CON-
TROL ROOM SOURCE [33] matrix can create
a feedback path between TAPE INPUT and TAPE OUT-
PUT. Make sure your tape deck is not in record, record-
pause, or input monitor mode, when you engage these
switches, or make sure the CONTROL ROOM / SUBMIX
[34] level knob is fully counterclockwise (off).
One Device: If you have just one parallel effects
device (two cords), use STEREO RETURN 1 and leave
STEREO RETURN 2 unplugged. That way, the unused
STEREO RETURN 2 level control can be used to feed
STEREO RETURN 1 to your stage monitors, via the
RETURN TO AUX 1 [41] switch.
10. TAPE OUTPUT
These unbalanced RCA connections tap the main
mix output to make simultaneous recording and PA
work more convenient. Connect these to your recorder’s
inputs. (See also MAIN MIX [32] on page 16.)
Mono Device: If you have an effects device with
a mono output (one cord), plug that into STEREO
RETURN 1, L/MONO, and leave STEREO RETURN 1,
RIGHT, unplugged. This way the signal will be sent
to both sides, magically appearing in the center as a
mono signal. This won’t work with STEREO RETURN 2
— you’ll need a Y-cord.
Mono Out: If you want to feed a mono signal to your
tape deck or other device, simply use an RCA Y-cord to
combine these outputs. Do not attempt this with any
other outputs on the 1202-VLZ3.
1
11. ⁄4" MAIN OUTS
8. AUX SEND 1&2
These outputs feed the main mix out into the waiting
world. You can feed your amplifiers this way, or through
the XLR MAIN OUTS [13].
The AUX SEND [31] knobs tap a portion of each
channel's signal to provide an output here to feed exter-
nal parallel effects processors or stage monitoring. See
the AUX SEND details on page 15.
These balanced outputs are capable of delivering 22
dBu into a 600 ohm balanced or unbalanced load.
These 1⁄4" jacks are balanced outputs capable of de-
livering 22 dBu into a 600 ohm balanced or unbalanced
load.
To use these outputs to drive balanced inputs, con-
nect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:
Tip = + (hot)
9. TAPE INPUT
Ring = –(cold)
Sleeve = Ground
These RCA jacks are designed to work with semipro
as well as pro recorders. To compensate for typically
low levels, signals coming in here will be automatically
boosted by 6 dB.
For most music recording and PA applications, unbal-
anced lines are fine. To drive unbalanced inputs, con-
nect 1⁄4" TS (Tip–Sleeve) phone plugs like this:
Connect your tape recorder’s outputs here, using
standard hi-fi (RCA) cables.
Tip = + (hot)
Sleeve = Ground
10
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POWER
ON
PHANTOM
ON
SERIAL NUMBER
MANUFACTURING DATE
CAUTION
WARNING: 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.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
CONTROL
ROOM
ALT
OUTPUT
BAL/UNBAL
CHANNEL INSERT
PRE-FADER / PRE EQ TIP SEND / RING RETURN
BLALMANACINED
(
)
BAL/UNBAL
R
L
R/4
L/3
4
3
2
1
MAIN
OUTPUT
LEVEL
13
14
15
16
17
loed channels, or the Tape input. The volume is adjust-
able with the CONTROL ROOM/SUBMIX [34]knob.
12. PHONES
This stereo jack will drive any standard headphone
to very loud levels. Walkperson-type phones can also be
used with an appropriate adapter. To learn how signals
are routed to these outputs, see SOURCE MATRIX
[33] on page 16. If you’re wiring your own cable for the
PHONES output, follow standard conventions:
These balanced outputs are capable of delivering 22
dBu into a 600 ohm balanced or unbalanced load.
16. ALT 3–4 OUTPUT
These 1⁄4" outputs are the sum of any channels that
have the MUTE/ALT 3-4 [25] switch pressed in (see
page 13 for the tender details).
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
These balanced outputs are capable of delivering 22
dBu into a balanced or unbalanced load.
WARNING: When we say the headphone
amp is loud, we’re not kidding. It can cause
17. CHANNEL INSERT (Channels 1–4 )
permanent ear damage. Even intermediate
levels may be painfully loud with some earphones. BE
CAREFUL! Always turn the CTL ROOM/ SUBMIX [34]
knob all the way down before connecting headphones.
Keep it down until you’ve put the phones on. Then turn
it up slowly. Why? “Engineers who fry their ears find
themselves with short careers.”
These rear-panel jacks are where you connect serial
effects such as compressors, equalizers, de-essers, or
filters. Since most people don’t have more than a few of
these gadgets, we’ve included inserts for just the first
four channels. If you want to use this kind of process-
ing on channels 5 through 12, simply patch through the
processor before you plug into the 1202-VLZ3.
13. XLR MAIN OUTS
Use these to send the main mix out into the line-level
balanced inputs of your amplifier or powered speakers.
The channel insert points are after the GAIN [4] and
LOW CUT [3] controls, but before the channel’s EQ
[27] and LEVEL [23] controls. The send (tip) is low-
impedance (120 ohms), capable of driving any line-level
device. The return (ring) is high-impedance (over 2.5 k
ohms) and can be driven by almost any device.
These low-impedance outputs are fully balanced
and capable of driving +4 dBu lines with up to 28 dB
of headroom. This output is 6 dB hotter than other
outputs.
SEND to processor
ring
“tip”
(TRS plug)
tip
sleeve
14. XLR MAIN OUTPUT LEVEL SWITCH
Engaging this switch reduces the level of the bal-
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring”
RETURN from processor
anced XLR main outputs by 40 dB, 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.)
See Appendix B for details and drawings about Insert
cables, and a diagram showing three ways to use the
jacks.
15. CONTROL ROOM
Besides being used for inserting external devices,
these jacks can also be used as channel direct outputs;
post-GAIN, post-LOW CUT, and pre EQ. In fact, Mackie
mic preamps have become so famous, that people buy
these mixers just to have four of these in their arsenal.
These 1⁄4" outputs are provided so you can listen
to something other than the main mix. The source is
selected using the SOURCE MATRIX [33] switches (see
page 16). You can choose to listen to the main mix, the
Alt 3-4 stereo bus (see MUTE/ALT 3-4 on page 13), So-
11
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21 22
POWER
ON
PHANTOM
ON
SERIAL NUMBER
MANUFACTURING DATE
CAUTION
WARNING: 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.
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ELECTRIQUE — NE PAS OUVRIR
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
XDRTM EXTENDED DYNAMIC RANGE MIC PREAMPLIFIERS ARE PROPRIETARY TO MACKIE DESIGNS, INC.
18
19
CONTROL
ALT
ROOM
OUTPUT
BAL/UNBAL
CHANNEL INSERT
PRE-FADER / PRE EQ TIP SEND / RING RETURN
BLALMANACINED
(
)
BAL/UNBAL
R
L
R/4
L/3
4
3
2
1
MAIN
OUTPUT
LEVEL
20
18. POWER CONNECTION
21. POWER SWITCH
Just in case you lose the cord provided with the 1202-
VLZ3, its power jack accepts a standard 3-prong IEC
cord like those found on most professional recorders,
musical instruments, and computers.
Press the top of this rocker switch inwards to turn on
the mixer. The power LED on the top surface of the mix-
er will glow with happiness, or at least it will if you have
the mixer plugged in to a suitable live AC mains supply.
WARNING: Before you plug the AC power
cord into the 1202-VLZ3, you must make sure
that the VOLTAGE SELECTOR [20] slide
switch is set to the same voltage as your local AC mains
supply.
Press the bottom of this switch to turn off the mixer,
whenever you feel that this would be a safe thing to do.
Half-way through Mad Mike's Heavy Metal guitar solo
might not be such a good time.
As a general guide, you should turn on your mixer
WARNING: Disconnecting the plug’s ground first, before the power amplifier or powered speakers,
pin can be dangerous. Please don’t do it.
and turn it off last. This will reduce the possibilities of
any turn-on, or turn-off thumps in your speakers.
19. FUSE
22. PHANTOM SWITCH
The 1202-VLZ3 is fused for your (and its own) protec-
tion. 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 500 mA (0.5
amps) SLO BLO 5x20mm, available at electronics stores
or your dealer. Use a 250 mA fuse if your local voltage is
220-240 VAC.
This global rocker switch controls the phantom power
supply for condenser microphones plugged into channel
MIC [1] inputs (see page 8).
Press the top of the switch inwards to engage phan-
tom power to the four MIC inputs. Press the bottom of
the switch to turn it off.
If two fuses blow in a row, something is very wrong.
Please call our toll-free number 1-800-898-3211 from
within the U.S. (or the distributor in your country) and
find out what to do.
When turned on (or off), the phantom power circuitry
takes a few moments for voltage to ramp up (or down).
This is perfectly normal. Just like me. Oh, and my imagi-
nary friend Lazlo who helps me write all the manuals.
Say hello to the nice folks Lazlo.
20. VOLTAGE SELECTOR
WARNING: Before you plug the AC power
cord into the 1202-VLZ3, you must make sure
that this slide switch is set to the same volt-
age as your local AC main supply. Only slide the voltage
switch with the power cord unplugged.
Use a flat headed screwdriver to slide the switch if
needed. The switch allows you to use the mixer in differ-
ent countries and voltages, meet interesting people from
other cultures, and entertain them with your unique
blend of Rockabilly Funkadelia Thrash Metal.
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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
are for individual mics or mono instruments and have
more gain available, while the next four are for either
stereo or mono line-level sources. (Each of the stereo
channel strips is actually two complete circuits. The
controls are linked together to preserve stereo.) We’ll
start at the bottom and work our way up…
to anytime during a session. You can solo as many chan-
nels at a time as you like.
Solo is also the key player in the Level-Setting Proce-
dure on page 3.
Soloed channels are sent to the SOURCE mix, which
ultimately feeds your control room, phones and meter
display. Whenever SOLO is engaged, all SOURCE selec-
tions (MAIN MIX, ALT 3-4 and TAPE) are defeated, to
allow the soloed signal to do just that — solo!
“U” LIKE UNITY GAIN
Mackie mixers have a “U” symbol on almost every
level control. This “U” stands for “unity gain,” meaning
no change in signal level. Once you have adjusted the
input signal to line-level, you can set every control at
“U” and your signals will travel through the mixer at
optimal levels. What’s more, all the labels on our level
controls are measured in decibels (dB), so you’ll know
what you’re doing level-wise if you choose to change a
control’s settings.
WARNING: PRE-FADER SOLO taps the
channel signal before the LEVEL knob. If
you have a channel’s LEVEL knob set below
“U” (unity gain), SOLO won’t 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.
25. MUTE/ALT 3–4
U
You won’t have to check it here
and check it there, as you would
with some other mixers. In fact,
some don’t even have any refer-
ence to actual dB levels at all!
You were smart — you bought a
Mackie.
AUX
The dual-purpose MUTE/ALT 3–4 bus is a Mackie
signature. When Greg was designing our first product,
he had to include a mute switch for each channel. Mute
switches do just what they sound like they do. They turn
off the signal by “routing” it into oblivion. “Gee, what a
waste,” Greg reasoned. “Why not have the mute button
route the signal somewhere else useful… like a sepa-
rate stereo bus?” So MUTE/ALT 3–4 really serves two
functions — muting (often used during a mixdown or
live show), and signal routing (for multitrack and live
work) where it acts as an extra stereo bus.
O O
+15
U
O O
U
+15
EQ
HI
12kHz
23. LEVEL
-15 +15
U
This adjusts the channel’s
level… from off, to unity gain at
the detent, on up to 12 dB of ad-
ditional gain.
MID
2.5kHz
-15 +15
U
To use this as a MUTE switch, all you have to do is
not use the ALT 3–4 [16] outputs. Then, whenever you
press this switch, you will assign a channel to these un-
used outputs, disconnecting it from the main mix, and
effectively muting the channel.
LOW
80Hz
The LEVEL knob is the equiva-
lent of a channel fader, so some-
times we lapse and say the word
fader.
-15 +15
PAN
To use this as an ALT 3–4 switch, all you have to do
is connect the ALT 3–4 outputs to whatever destination
you desire. Here are two popular examples:
L
R
Channels 1 through 4 use mono
controls, and channels 5 through
12 use stereo controls, and so they
may feel slightly different. Not a
problem.
1
25
24
MUTE
–
ALT 3 4
PRE FADER
SOLO
When doing multitrack recording, use the ALT 3–4
outputs to feed your multitrack. With most decks, you
can "mult" the ALT 3–4 [16] outputs, using Y-cords or
mults, to feed multiple tracks. So, take ALT OUTPUT L
and send it to tracks 1, 3, 5 and 7, and ALT OUTPUT R
and send it to tracks 2, 4, 6 and 8. Now, tracks that are
in Record or Input modes will hear the ALT 3–4 signals,
and tracks in Playback or Safe modes will ignore them.
U
24.PRE-FADER SOLO
23
This lovable switch allows you
to hear signals through your head-
phones or control room without
having to route them to the main
mix or ALT 3-4 mix. You don’t even
have to have the channel’s LEVEL
[23] knob turned up. Folks use
solo in live work to preview chan-
nels before they are let into the
O O +12dB
LEVEL
When doing live sound or mixdown, it’s often handy
to control the level of several channels with one knob.
That’s called subgrouping. Simply assign these channels
to the ALT 3–4 mix, engage ALT 3–4 in the SOURCE
[33] matrix, and the signals will appear at the CON-
13
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TROL ROOM [15] and PHONES [12] outputs. 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.
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).
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.
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.
Another benefit 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.
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
specified 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.
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!
U
AUX
26. PAN
31
PAN adjusts the amount of
27. LOW EQ
O O
U
+15
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.
This control gives you
up to 15 dB boost or cut
below 80 Hz. The circuit is
flat (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.
+15
+10
30
+5
0
O O
U
+15
EQ
–5
HI
29
28
27
12kHz
–10
–15
-15 +15
U
20Hz
100Hz
1kHz
10kHz 20kHz
Low EQ
MID
2.5kHz
+15
+10
-15 +15
U
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).
+5
0
LOW
80Hz
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.
-15 +15
–5
–10
–15
PAN
26
20Hz
100Hz
1kHz
10kHz 20kHz
Low EQ with Low Cut
L
R
1
MUTE
–
ALT 3 4
28. MID EQ
Short for “midrange,”
PRE FADER
SOLO
+15
+10
U
this knob provides 15 dB
of boost or cut, centered at
2.5 kHz, also flat at the cen-
ter detent. Midrange EQ
is often thought of as the
most dynamic, because the
frequencies that define any
+5
0
–5
–10
–15
O O +12dB
LEVEL
20Hz
100Hz
1kHz
10kHz 20kHz
Mid EQ
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.
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Each AUX send level ranges from off through unity
(the center detent position) on up to 15 dB of extra gain
(when turned fully clockwise). Chances are you’ll never
need this extra gain, but it’s nice to know it’s there if
you do.
29. HI EQ
This control gives you up
to 15 dB boost or cut above
12 kHz, and it is also flat
at the detent. Use it to add
sizzle to cymbals, and an
overall sense of transpar-
ency, or edge to keyboards,
vocals, guitar and bacon
frying. Turn it down a little
to reduce sibilance, or to
hide tape hiss.
+15
+10
+5
0
–5
Channel 5–12 AUX knobs control the mono sum of
the channel’s stereo signals for each AUX send. For
instance, channel 5 (L) and 6 (R) mix together to feed
that channel’s AUX send knobs.
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
High EQ
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.
MODERATION DURING EQ
With EQ, you can also screw things up royally. We’ve
designed a lot of boost and cut into each equalizer cir-
cuit, because we know everyone will occasionally need
that. But if you max the EQs on every channel, you’ll
get mix mush. Equalize subtly and use the left sides of
the knobs (cut), as well as the right (boost). Very few
gold-record-album engineers ever use more than about
3 dB of EQ. If you need more than that, there’s usually a
better way to get it, such as placing a mic differently (or
using a different kind of mic entirely).
Still with us? Good for you. Here come the tricky
parts, the output or master section where the mixing is
really done. We have even started it on a new page:
30. AUX 2 SEND
31. AUX 1 SEND
These knobs allow you to tap a portion of each chan-
nel signal out to another source for parallel effects
processing or stage monitoring. AUX send levels are con-
trolled by these knobs and by the AUX 1 MASTER [39].
These are more than just effects and monitor sends.
They can be used to generate separate mixes for record-
ing or “mix-minuses” for broadcast. By using AUX 1 in
the PRE mode, these mix levels can be obtained inde-
pendently of the channel’s LEVEL control.
AUX 1 in post mode and AUX 2 are post-LOW CUT,
post-EQ and post-LEVEL. 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 LEVEL
have no effect on the PRE send (see diagram below).
LEVEL
PAN
MAIN / ALT
INPUT
GAIN
LO CUT
INSERT
EQ
"POST" SIGNAL OBEYS
MUTE STATUS
AUX 2 KNOB
“Pre vs. Post”
Signal Flow Diagram
TO AUX SEND 2 LEVEL
TO AUX SEND 1 LEVEL
"POST" SIGNAL
AUX 1 KNOB
"PRE" SIGNAL
AUX SEND 1 PRE/POST SWITCH
(IN MASTER SECTION)
15
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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
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
that additional stereo mix bus. Tape is the stereo signal
coming in from the TAPE INPUT [9] jacks.
LEFT RIGHT
CONTROL
ROOM
0dB=0dBu
20
10
7
CLIP
SOURCE
33
36
MAIN MIX
37
4
2
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.
–
ALT 3 4
0
2
4
TAPE
LEVEL
SET
7
The exception is the solo function. Regardless of
the source selection, engaging a channel’s SOLO [24]
switch will replace that selection with the solo signal,
also sent to the control room, phones and right meter
(the left meter becomes inactive). This is what makes
the Level-Setting Procedure so easy to do.
10
20
30
ASSIGN
RUDE
SOLO
LIGHT
TO MAIN MIX
35
32
U
U
WARNING: Engaging both the TAPE and
ASSIGN TO MAIN MIX [36] buttons can
34
create a feedback path between TAPE INPUT
[9] and TAPE OUTPUT [10]. Make sure your tape deck
is not in record, record-pause, or input-monitor mode
when you engage these switches, or make sure the CON-
TROL ROOM / SUBMIX 34] level knob is fully counter-
clockwise (off).
O O
O O +12dB
MAIN MIX
MAX
CTL ROOM /SUBMIX
Now you know how to select the signals to send to the
engineer’s control room or phones. From there, these
signals all pass through the same level control:
32. MAIN MIX
This knob controls the levels of signals sent to the
main outputs: XLR [13] and 1⁄4" [11] and RCA TAPE
OUTPUT [10]. All channels and STEREO RETURNS [7]
that are not muted or turned fully down will wind up in
the main mix.
34. CONTROL ROOM/SUBMIX
This knob controls the levels of both the stereo CON-
TROL ROOM [15] and PHONES [12] outputs. The con-
trol range is from off through unity gain at the detent,
with 10 dB of extra gain (when turned fully clockwise).
Fully counterclockwise is off, the center detent is
unity gain, and fully clockwise provides 12 dB of addi-
tional gain. This additional gain will typically never be
needed, but once again, it’s nice to know it’s there. This
is the knob to turn down at the end of the song when
you want The Great Fade-Out.
When MAIN MIX is your control room source selec-
tion, those signals will now pass through two level con-
trols on the way to your control room amp and phones
— the MAIN MIX [32] knob and this CONTROL ROOM
/ SUBMIX knob. 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 wherever you like it).
When ALT 3-4 or TAPE is selected, or SOLO [24] is
engaged, the CONTROL ROOM / SUBMIX knob will be
the only one controlling these levels (channel controls
not withstanding).
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Whatever your selection, you can also use the CON-
TROL ROOM [15] outputs for other applications. Its
sound quality is just as impeccable as the MAIN OUTS
[11 and 13]. It can be used as additional main mix
output, which may sound silly since there are already
three, but this one has its own level control. However,
should you do something like this, be sure that you do
not engage a SOLO switch, as that will interrupt your
SOURCE selection.
36. ASSIGN TO MAIN MIX
Let’s say you’re doing a live show. Intermission is near-
ing and you’ll 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
inputs, 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 [34] knob, will feed into the main mix,
just as if it were another stereo channel.
A WORD ABOUT PRE-FADER SOLO (PFL)
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.
Engaging a channel’s SOLO [24] switch will cause
this dramatic turn of events: Any existing control room
source selections will be replaced by the solo signal,
appearing in the control room, headphones, and in the
right meter. The audible solo levels are then controlled
by the CONTROL ROOM / SUBMIX [34] knob. The solo
levels appearing on the right meter display are not con-
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 MAIN MIX as
your control room source selection and then engage AS-
trolled by anything — you wouldn’t want that. You want SIGN TO MAIN MIX, the main mix lines to the control
to see the actual channel level on the meter display
regardless of how loud you’re listening.
room will be interrupted to prevent feedback. Then
again, why would anyone want to assign the main mix to
the main mix?
“PRE-FADER” SOLO means that the channel signal
is being tapped before the channel’s LEVEL [23] knob
(not really a fader in this case, but we were afraid you’d
laugh if we called it Pre-Knob Solo). It does, however,
obey GAIN [4], LOW CUT [3] and EQ [27] settings,
making it the perfect tool for quick inspections of sus-
pect channels. The channel’s PAN [26] and MUTE/ALT
3-4 [25]settings have no effect on the solo signal.
37. METERS – MANY DISPLAYS IN ONE!
The 1202-VLZ3’s peak metering system is made up of
two columns of twelve LEDs. Deceptively simple, consid-
ering the multitude of signals that can be monitored by
it.
If nothing is selected in the SOURCE matrix and no
channels are in SOLO, the METERS will just sit there
and do nothing. To put them to work, you must make
a selection in the SOURCE matrix (or engage a SOLO
switch).
Note: For stereo channels 5-12, the solo signal is the
mono sum of the left (odd-numbered) and right (even-
numbered) signals for that channel strip.
WARNING: PRE-FADER SOLO [24] taps
the channel signal before the LEVEL knob. If
you have a channel’s LEVEL knob set below
Why? You want the meter display to reflect what the
engineer is listening to, and as we’ve covered, the en-
“U” (unity gain), SOLO won’t know that, and will send a gineer is listening either to the CONTROL ROOM [15]
unity gain signal to the control room, phones and meter outputs or the PHONES [12] outputs. The only differ-
display, that may result in a startling level boost at these ence is that while the listening levels are controlled by
outputs.
the CONTROL ROOM / SUBMIX [34] knob, the meters
read the SOURCE mix before that control, giving you the
real facts at all times, even if you’re not listening at all.
35. RUDE SOLO LIGHT
This flashing Light Emitting Diode serves two purpos-
es — to remind you that at least one channel is in solo,
and to let you know that you’re mixing on a Mackie. No
other company is so concerned about your level of solo
awareness. If you work on a mixer that has a solo func-
tion with no indicator lights, and you happen to forget
you’re in solo, you can easily be tricked into thinking
that something is wrong with your mixer. Hence the
RUDE SOLO LIGHT. It’s especially handy at about 3 a.m.
when no sound is coming out of your monitors but your
multitrack is playing back like mad.
Thanks to the 1202-VLZ3’s wide dynamic range,
you can get a good mix with peaks flashing anywhere
between –20 and +10 dB on the METERS. Most ampli-
fiers clip at about +10 dB, and some recorders aren’t so
forgiving either. For best real-world results, try to keep
your peaks between “0” and “+7”.
You may already be an expert at the world of “+4” (+4
dBu=1.23 V) and “–10” (–10 dBV=0.32 V) operating
levels. Basically, what makes a mixer one or the other
is the relative 0 dB VU (or 0 VU) chosen for the meters.
A “+4” mixer, with a +4 dBu signal pouring out the back
will actually read 0 VU on its meters. A “–10” mixer,
with a –10 dBV signal trickling out, will read 0VU on its
meters. So when is 0 VU actually 0 dBu? Right now!
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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.
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 finally delivered to the
main mix.
Remember, audio meters are just tools to help assure
So, the original “dry” signals go from the channels to
you that your levels are “in the ballpark.” You don’t have the main mix and the affected “wet” signals go from the
to stare at them (unless you want to).
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:
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.
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.
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.
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.
39
40
41
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.”
38
POWER
LEFT RIGHT
CONTROL
0dB=0dBu
ROOM
20
10
7
CLIP
SOURCE
39. AUX 1 MASTER
MAIN MIX
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.
4
2
–
ALT 3 4
0
2
4
TAPE
LEVEL
SET
7
10
20
30
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.)
ASSIGN
RUDE
TO MAIN MIX
SOLO
LIGHT
U
U
O O
O O +12dB
MAIN MIX
MAX
40. STEREO RETURNS
CTL ROOM /SUBMIX
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.
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Typically, these knobs can just live at the center
detent, and the effects device’s 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 device’s outputs, not the mixer. That
way, the mixer’s knobs are easy to relocate at the center
detent.
Engage the RETURN TO AUX 1 switch, and now the
STEREO 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! You’ve just read about all the fea-
tures of your 1202-VLZ3. You’re probably ready for a cold
one. Go ahead. The rest of the manual can wait.
Signals passing through these controls will proceed
directly to main mix, with one exception (see paragraph
below). 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, you’ll have to patch the effects device’s
outputs into one of the stereo channels, and MUTE/ALT
those channels.
41. RETURN TO AUX 1
If you want to add reverb or delay to the stage monitor
mixes of AUX 1, this is the switch for you.
With the switch up, STEREO RETURN 1 and 2 behave
normally — they deliver their signals into the main mix.
With the switch down, STEREO RETURN 1 still behaves
normally, but STEREO RETURN 2 will feed AUX SEND 1
instead of the main mix.
Still with us? Good. So far, with the switch down, we
have STEREO RETURN 1 feeding the main mix and
STEREO RETURN 2 feeding AUX SEND 1. Now, sup-
pose you only have one effects device, and you want it to
feed both the MAIN MIX and AUX SEND 1. That’s where
“jack normalling” comes in:
JACK NORMALLING
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 some-
thing in the RIGHT side, that normalled connection is
broken.
How does all this relate to the
ALL BAL/UNBAL
1
R
L /MONO
RETURN TO AUX 1 [41] switch?
STEREO RETURN 1’s inputs are
normalled to STEREO RETURN 2.
If you have one effects device, plug
it into STEREO RETURN 1. Plug
nothing into STEREO RETURN 2.
1
2
L
R
2
AUX SEND
Now the signals feeding the STEREO RETURN 1 inputs
will also be sent to the STEREO RETURN 2 inputs.
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Appendix A: Service Information
Warranty Service
Repair
Details concerning the Limited Warranty are spelled
out on page 27 of this manual.
Service for Mackie products is available at a factory-
authorized service center. Service for Mackie products
living outside the United States can be obtained through
local dealers or distributors.
If you think your 1202-VLZ3 has a problem, please
check out the following troubleshooting tips and do your
best to confirm the problem. Visit the Support section of If your 1202-VLZ3 needs service, follow these instructions:
our website (www.mackie.com) where you will find lots
1. Review the preceding troubleshooting suggestions.
of useful information such as FAQs, documentation and
Please.
user forums. You may find the answer to the problem
without having to send your mixer away.
2. Call Tech Support at 1-800-898-3211, 7 am to 5 pm
PST, to explain the problem and request a Service
Request Number. Have your serial number ready.
You must have an Service Request Number before
you can obtain warranty service.
Troubleshooting
Bad Channel
3. Keep this owner’s manual and the detachable line-
cord. We don’t need them to repair the unit.
•
Is the MUTE/ALT 3–4 switch in the correct
position?
4. Pack the unit in its original package, including end-
caps and box. This is VERY IMPORTANT. Mackie is
not responsible for any damage that occurs due to
non-factory packaging.
•
•
Is the LEVEL knob turned up?
Try unplugging any INSERT devices (Channels
1–4 only).
5. Include a legible note stating your name, shipping
address (no P.O. boxes), daytime phone number,
Service Request Number, a copy of your sales
receipt, and a detailed description of the problem,
including how we can duplicate it.
•
Try the same source signal in another channel,
set up exactly like the suspect channel.
Bad Output
•
•
Is the associated level knob (if any) turned up?
6. Write the Service Request Number in BIG PRINT
on top of the box. Units sent without the SR number
will be refused.
If it’s one of the MAIN OUTS, try unplugging
all the others. For example, if it’s the 1⁄4"
Left Main out, unplug the RCA and XLR Left
outputs. If the problem goes away, its not the
mixer.
7. Tech Support will tell you where to ship the unit for
repair. We suggest insurance for all forms of cart-
age.
•
If it’s a stereo pair, try switching them around.
For example, if a left output is presumed dead,
switch the left and right cords, at the mixer
end. If the problem switches sides, it’s not the
mixer.
8. You will need to contact the authorized service
center for their latest turn-around times. The unit
should be packaged in its original packing box, and
must have the Service Request Number on the box.
Once it’s repaired, the authorized service center
will ship it back by ground shipping, pre-paid (if it
was a warranty repair).
Noise
•
Turn the channel LEVEL and AUX RETURN
knobs down, one by one. If the sound disap-
pears, it’s either that channel or whatever is
plugged into it, so unplug whatever that is. If
the noise disappears, it’s from your whatever.
Note: Under the terms of the warranty, you must ship or
drop-off the unit to an authorized service center.
The return ground shipment is covered for those
units deemed by us to be under warranty.
Note: You must have a sales receipt from an authorized
Mackie dealer for your unit to be considered for
warranty repair.
Power
•
Unplug the power cord and check the fuse.
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Appendix B: Connections
“XLR” Connectors
You can cook up your own adapter for a stereo
microphone adapter. “Y” two cables out of a
female 1⁄4" TRS jack to two male XLR plugs,
one for the Right signal and one for the Left.
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. See Figure A. This is all totally aboveboard
and in full accord with the hallowed standards dictated
by the AES (Audio Engineering Society).
•
•
Balanced mono circuits. When wired as a bal-
anced connector, a 1⁄4" TRS jack or plug is con-
nected tip to signal high (hot), ring to signal
low (cold), and sleeve to ground (earth).
Unbalanced Send/Return circuits. When wired
as a send/return “Y” connector, a 1⁄4" 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).
Use a male “XLR”-type connector, usually found on the
nether end of what is called a “mic cable,” to connect to
a female XLR jack.
2
SHIELD
HOT
1⁄4" TS Phone Plugs and Jacks
1
3
COLD
SHIELD
1
“TS” stands for Tip-Sleeve, the two connections avail-
able on a “mono” 1⁄4" phone jack or plug. See Figure C.
3
COLD
2
HOT
SLEEVE
SLEEVE
TIP
SHIELD
COLD
HOT
1
3
TIP
2
TIP
SLEEVE
Figure A: XLR Connectors
Figure C: TS Plug
1⁄4" TRS Phone Plugs and Jacks
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:
“TRS” stands for Tip-Ring-Sleeve, the three
connections available on a “stereo” 1⁄4" or “balanced”
phone jack or plug. See Figure B.
•
•
•
Unbalanced microphones
TRS jacks and plugs are used in several different ap-
plications:
Electric guitars and electronic instruments
Unbalanced line-level connections
RING SLEEVE
TIP
SLEEVE RING TIP
Switched 1⁄4" Phone Jacks
RING
TIP
Switches can be incorporated into 1⁄4" phone jacks,
which are activated by inserting the plug. These switch-
es may open an insert loop in a circuit, change the input
routing of the signal or serve other functions. Mackie
uses switches in the channel insert and bus insert
jacks, input jacks and stereo returns. We also use these
switches to ground the line-level inputs when nothing is
plugged into them.
SLEEVE
Figure B: 1⁄4" TRS Plugs
•
Stereo Headphones, and rarely, stereo micro-
phones and stereo line connections.
When wired for stereo, a 1⁄4" 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.
In most cases, the plug must be inserted fully to
activate the switch. Mackie takes advantage of this in
some circuits, specifying circumstances where you are
to insert the plug only partially. See Special Mackie
Connections, on the next page.
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RCA Plugs and Jacks
Special Mackie Connections
RCA-type plugs (also known as phono plugs) and
jacks are often used in home stereo and video equip-
ment and in many other applications (Figure D). They
are unbalanced and electrically identical to a 1⁄4" TS
phone plug or jack. See Figure C. Connect the signal to
the center post and the ground (earth) or shield to the
surrounding “basket.”
The balanced-to-unbalanced connection has been
anticipated in the wiring of Mackie jacks. A 1⁄4" TS plug
inserted into a 1⁄4" TRS balanced input, for example,
will automatically unbalance the input and make all the
right connections. Conversely, a 1⁄4" TRS plug inserted
into a 1⁄4" unbalanced input will automatically tie the
ring (low or cold) to ground (earth).
TRS Send/Receive Insert Jacks
SLEEVE TIP SLEEVE TIP
Mackie’s single-jack inserts are the three-conductor,
TRS-type 1⁄4" phone. They are unbalanced, but have
both the mixer output (send) and the mixer input
(return) signals in one connector. See Figure E.
Figure D: RCA Plug
SEND to processor
Unbalancing a Line
ring
“tip”
(TRS plug)
tip
sleeve
In most studio, stage and sound reinforcement situ-
ations, there is a combination of balanced and unbal-
anced inputs and outputs on the various pieces of
equipment. This usually will not be a problem in making
connections.
This plug connects to one of the
mixer’s Channel Insert jacks.
“ring”
RETURN from processor
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.
•
When connecting a balanced output to an
unbalanced input, be sure the signal high (hot)
connections are wired to each other, and that
the balanced signal low (cold) goes to the
ground (earth) connection at the unbalanced
input. In most cases, the balanced ground
(earth) will also be connected to the ground
(earth) at the unbalanced input. If there are
ground-loop problems, this connection may be
left disconnected at the balanced end.
Using the Send Only on an Insert Jack
If you insert a TS (mono) 1⁄4" 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).
•
When connecting an unbalanced output to a
balanced input, be sure that the signal high
(hot) connections are wired to each other. The
unbalanced ground (earth) connection should
be wired to the low (cold) and the ground
(earth) connections of the balanced input. If
there are ground-loop problems, try connecting
the unbalanced ground (earth) connection only
to the input low (cold) connection, and leaving
the input ground (earth) connection discon-
nected.
This allows you to tap out the channel or bus signal
without interrupting normal operation.
If you push the 1⁄4" 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
on the next page.
NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
•
In some cases, you will have to make up special
adapters to interconnect your equipment. For
example, you may need a balanced XLR female
connected to an unbalanced 1⁄4" TS phone
plug.
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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.
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
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.
MONO PLUG
Channel Insert jack
Mults and “Y”s
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
A mult or “Y” connector allows you to route one output
to two or more inputs by simply providing parallel wir-
ing connections. You can make “Y”s and mults for the
outputs of both unbalanced and balanced circuits.
STEREO
PLUG
Channel Insert jack
Remember: Only mult or “Y” one output into
several inputs. If you need to combine several
outputs into one input, you must use a mixer,
not a mult or a “Y.”
For use as an effects loop.
(TIP= SEND to effect, RING = RETURN from effect.)
Figure F
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
stereo, depending upon how you use the jacks. Here’s
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 cir-
cuit, and will show up in the center of the stereo pair of
buses it’s assigned to, or it can be panned with the PAN
[26] control.
RING (IN)
RING
TIP
RING (RETURN)
(RETURN)
(SEND)
TIP (OUT)
TO MIXER
CHANNEL INSERT
FROM
PROCESSOR
OUTPUT
TO
PROCESSOR
INPUT
TIP (SEND)
Y-cord insert cable
Y-cord splitter cable
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Appendix C: Technical Information
Maximum Levels
Mic in:
Specifications
+22 dBu
+16 dBu
+22 dBu
+28 dBu
+22 dBu
Tape in:
Main Mix Noise
(20 Hz–20 kHz bandwidth, 1/4" Main out, channels 1–4 Trim @
All other inputs:
unity gain, channel EQs flat, all channels assigned to Main Mix, Main Mix XLR out:
channels 1 and 3 Pan left, 2 and 4 Pan right.)
All other outputs:
Main Mix knob down, channel Gain knobs down: –100 dBu
Impedances
Mic in:
Main Mix knob unity, channel Gain knobs down: –86.5 dBu
2.5 kilohms
(90 dB Signal to Noise Ratio, ref +4 dBu)
Channel Insert return:
2.5 kilohms
Main Mix knob @ unity, channel Gain knobs @ unity: –84.5 dBu
All other inputs:
10 kilohms or greater
1.1 kilohms
Total Harmonic Distortion (THD)
(1 kHz @ 35 dB gain, 20 Hz–20 kHz bandwidth)
Mic pre @ insert:
Tape out:
All other outputs:
120 ohms
0.0007%
EQ
Attenuation (Crosstalk)
High Shelving
Mid Peaking
Low Shelving
15 dB @ 12 kHz
15 dB @ 2.5 kHz
15 dB @ 80 Hz
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth,
Line in, 1⁄4" Main Out, Trim @ unity.)
Main Mix knob down:
–75 dBu
Power Consumption
Channel Alt / Mute switch engaged:
Channel Gain knob down:
–85 dBu
–87 dBu
@120 VAC, 50/60 Hz, 25 watts
Fuse Rating
100-120V:
220-240V:
Frequency Response
(Mic input to any output.)
20 Hz to 60 kHz:
500 mA slo blo, 5 x 20 mm
250 mA slo blo, 5 x 20 mm
+0 dB/–1 dB
+0 dB/–3 dB
20 Hz to 100 kHz:
Dimensions (H x W x D)
11.2" x 11.9" x 3.0" (284 mm x 303 mm x 75 mm)
6.5 lb (3.0 kg)
Equivalent Input Noise (EIN)
(Mic in to Insert Send out, max gain.)
150 ohm termination:
Weight
–129.5 dBu 20 Hz–20 kHz
Common Mode Rejection Ratio (CMRR)
(Mic in to Insert Send out, max gain.)
LOUD Technologies Inc. is always striving to improve our prod-
ucts by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
1 kHz:
better than –70 dB
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective hold-
ers, and are hereby acknowledged.
©2006 LOUD Technologies Inc. All Rights Reserved.
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1202-VLZ3
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BlockDiagram
LOGIC
SOLO
AUX SEND 2 POST
AUX SEND 1 POST
AUX SEND 1 PRE
ALT R
ALT L
MAIN R
MAIN L
MACKIE 1202-VLZ3
BLOCK DIAGRAM
5/06
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Track Sheet
26
1202-VLZ3
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1202-VLZ3 Limited Warranty
Please keep your sales receipt in a safe place.
F. Any products returned to one of the LOUD Technologies
A. LOUD Technologies Inc. warrants all materials,
workmanship and proper operation of this product for a period
of three years from the original date of purchase. If any defects
are found in the materials or workmanship or if the product
fails to function properly during the applicable warranty
period, LOUD Technologies, at its option, will repair or replace
the product. This warranty applies only to equipment sold and
delivered within the U.S. by LOUD Technologies Inc. or its
authorized dealers.
factory-authorized service centers, and deemed eligible for
repair or replacement under the terms of this warranty will
be repaired or replaced within thirty days of receipt. LOUD
Technologies and its authorized service centers may use
refurbished parts for repair or replacement of any product.
Products returned to LOUD Technologies that do not meet
the terms of this Warranty will not be repaired unless
payment is received for labor, materials, return freight,
and insurance. Products repaired under warranty will be
returned freight prepaid by LOUD Technologies to any
location within the boundaries of the USA.
B. Failure to register online or return the product registration
card will not void the three-year warranty.
C. Service and repairs of Mackie products are to be
performed only at a factory-authorized facility (see D below).
Unauthorized service, repairs, or modification will void this
warranty. To obtain repairs under warranty, you must have a
copy of your sales receipt from the authorized Mackie dealer
where you purchased the product. It is necessary to establish
the purchase date and determine whether your Mackie
product is within the warranty period.
G. LOUD Technologies warrants all repairs performed
for 90 days or for the remainder of the warranty period.
This warranty does not extend to damage resulting from
improper installation, misuse, neglect or abuse, or to
exterior appearance. This warranty is recognized only if
the inspection seals and serial number on the unit have not
been defaced or removed.
H. LOUD Technologies assumes no responsibility for the
quality or timeliness of repairs performed by an authorized
service center.
D. To obtain factory-authorized service:
1. Call Mackie Technical Support at 800/898-3211, 7 AM to
5 PM Monday through Friday (Pacific Time) to get a Service
Request Number. Products returned without a Service Request
Number will be refused.
I. This warranty is extended to the original purchaser and to
anyone who may subsequently purchase this product within
the applicable warranty period. A copy of the original sales
receipt is required to obtain warranty repairs.
2. Pack the product in its original shipping carton. Also include
a note explaining exactly how to duplicate the problem, a
copy of the sales receipt with price and date showing, and
your return street address (no P.O. boxes or route numbers,
please!). If we cannot duplicate the problem or establish the
starting date of your Limited Warranty, we may, at our option,
charge for service time.
J. This is your sole warranty. LOUD Technologies does
not authorize any third party, including any dealer or
sales representative, to assume any liability on behalf of
LOUD Technologies or to make any warranty for LOUD
Technologies Inc.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE
SHALL BE STRICTLY LIMITED IN DURATION TO THREE
YEARS FROM THE DATE OF ORIGINAL PURCHASE
FROM AN AUTHORIZED MACKIE DEALER. UPON
EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,
LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER
WARRANTY OBLIGATION OF ANY KIND. LOUD
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY
INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES
THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE
PRODUCT OR ANY WARRANTY CLAIM. Some states do
not allow exclusion or limitation of incidental, special,
or consequential damages or a limitation on how long
warranties last, so some of the above limitations and
exclusions may not apply to you. This warranty provides
specific legal rights and you may have other rights which
vary from state to state.
3. Ship the product in its original shipping carton, freight
prepaid to the authorized service center. The address of your
closest authorized service center will be given to you by
Technical Support.
IMPORTANT: Make sure that the Service Request Number is
plainly written on the shipping carton.
No receipt: no warranty service.
E. LOUD Technologies reserves the right to inspect any
products that may be the subject of any warranty claims before
repair or replacement is carried out. LOUD Technologies may,
at our option, require proof of the original date of purchase in
the form of a dated copy of the original dealer’s invoice or sales
receipt. Final determination of warranty coverage lies solely
with LOUD Technologies.
27
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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]
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