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1
MIC
BAL
OR
UNBAL
LINE IN 1
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
U
0
60
+15dB -45dB
GAIN
AUX
U
7. STEREO RETURNS
+15
O O
O O
U
This is where you connect the outputs of your par-
allel effects devices (or extra audio sources). These
+15
O O
O O
U
EQ
balanced inputs are similar to the stereo LINE IN [2]
HI
12kHz
inputs (without EQ, Aux Sends, Pan, Mute, and Solo).
-15
+15
-15
U
The circuits will handle stereo or mono, balanced or
MID
2.5kHz
unbalanced signals, either instrument level, –10 dBV
-15
+15
-15
U
LOW
or +4 dBu. They can be used with just about any pro or
80Hz
-15
+15
-15
semipro effects device on the market. The signals com-
PAN
ing into these inputs can be adjusted using the STEREO
L R
RETURN [40] knobs before passing onto the main mix
1
MUTE
bus, see page 19.
ALT 3 – 4
PRE FADER
PRE FADER
SOLO
SOLO
One Device: If you have just one parallel effects
U
device (two cords), use STEREO RETURN 1 and leave
STEREO RETURN 2 unplugged. That way, the unused
+12dB
O O
LEVEL
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.
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.
8. AUX SEND 1&2
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 1⁄4" jacks are balanced outputs capable of de-
livering 22 dBu into a 600 ohm balanced or unbalanced
load.
9. TAPE INPUT
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.
Connect your tape recorder's outputs here, using
standard hi-fi (RCA) cables.
10
10-VLZ3
2
3
4
MIC
MIC
MIC
BAL
BAL
BAL
OR
OR
OR
UNBAL
UNBAL
UNBAL
LINE IN 3
LINE IN 4
LOW CUT
LOW CUT
LOW CUT
75 Hz
75 Hz
75 Hz
18dB/OCT
18dB/OCT
18dB/OCT
U
U
U
0
60
0
60
0
60
+15dB -45dB
+15dB -45dB
+15dB -45dB
GAIN
GAIN
GAIN
AUX
AUX
AUX
U
U
U
+15
+15
+15
O O
O O
U
U
U
+15
+15
+15
O O
O O
U
EQ
U
EQ
U
EQ
HI
HI
HI
12kHz
12kHz
12kHz
+15
-15
+15
-15
+15
U
U
U
MID
MID
MID
2.5kHz
2.5kHz
2.5kHz
+15
-15
+15
-15
+15
U
U
U
LOW
LOW
LOW
80Hz
80Hz
80Hz
+15
-15
+15
-15
+15
PAN
PAN
PAN
L R
L R
L R
2
3
4
MUTE
MUTE
MUTE
ALT 3 – 4
ALT 3 – 4
ALT 3 – 4
PRE FADER
PRE FADER
SOLO
SOLO
U
U
U
+12dB
+12dB
+12dB
O O
O O
O O
LEVEL
LEVEL
LEVEL
7
9 10 11
8
L /
R
ALL BAL/UNBAL
TAPE
TAPE
MONO
INPUT
OUTPUT
1
1
L
L
R
2
2
R
AUX SEND
MONO
MONO
MONO
L
L
L
BAL
BAL
BAL
OR
OR
OR
UNBAL
UNBAL
UNBAL
R
R
R
LINE IN 5 – 6
LINE IN 7 – 8
LINE IN 9 – 10
AUX
AUX
AUX
U
U
U
Use these jacks for convenient tape playback of your
+15
+15
+15
O O
O O
mixes. You'll be able to review a mix and then rewind
O O
U
U
U
and try another pass without repatching or disturbing
+15
+15
+15
O O
O O
O O
the mixer levels. You can also use these jacks with a
U
EQ
U
EQ
U
EQ
HI
HI
HI
portable tape or CD player to feed music to a PA system
12kHz
12kHz
12kHz
-15
+15
-15
+15
-15
+15
between sets.
U
U
U
MID
MID
MID
2.5kHz
2.5kHz
2.5kHz
-15
+15
-15
+15
-15
+15
WARNING: Engaging both the TAPE and
U
U
U
LOW
LOW
LOW
ASSIGN TO MAIN MIX buttons in the CON-
80Hz
80Hz
80Hz
-15
+15
-15
+15
-15
+15
TROL ROOM SOURCE [33] matrix can create
PAN
PAN
PAN
a feedback path between TAPE INPUT and TAPE OUT-
L R
L R
L R
PUT. Make sure your tape deck is not in record, record-
5/6
7/8
9/10
MUTE
MUTE
MUTE
pause, or input monitor mode, when you engage these
ALT 3 – 4
ALT 3 – 4
ALT 3 – 4
PRE FADER
PRE FADER
PRE FADER
switches, or make sure the CONTROL ROOM / SUBMIX
SOLO
SOLO
SOLO
U
U
U
[34] level knob is fully counterclockwise (off).
+12dB
+12dB
+12dB
O O
O O
O O
LEVEL
LEVEL
LEVEL
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 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.
11.
⁄
" MAIN OUTS
1
4
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].
These balanced outputs are capable of delivering 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)
Ring = –(cold)
Sleeve = Ground
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:
Tip = + (hot)
Sleeve = Ground
BAL /UNBAL
L
L
R
R
MAIN OUT
MONO
12
L
BAL
OR
UNBAL
R
LINE IN 11 – 12
AUX
U
+15
O O
U
+15
O O
U
EQ
POWER
HI
LEFT RIGHT
12kHz
CONTROL
0dB=0dBu
ROOM
-15
+15
U
SOURCE
MID
2.5kHz
MAIN MIX
-15
+15
U
LOW
80Hz
ALT 3 – 4
-15
+15
PAN
TAPE
L R
11/12
MUTE
ALT 3 – 4
ASSIGN
TO MAIN MIX
RUDE
SOLO
PRE FADER
LIGHT
SOLO
U
U
+12dB
MAX
O O
O O
O O
LEVEL
/SUBMIX
MAIN MIX
CTL ROOM
20
CLIP
10
7
4
2
0
2
4
LEVEL
7
SET
10
20
30
U
+12dB
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