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Patchbay Description
1
MIC
1
2
BAL
OR
UNBAL
LINE IN 1
LINE IN 2
3
LOW CUT
75 Hz
18dB/OCT
U
U
4
0
60
+15dB -45dB
GAIN
AUX
U
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level instruments
+15
O O
O O
U
and effects, headphones, and the ultimate destination
for your sound: a tape recorder, PA system, etc.
+15
O O
O O
U
EQ
HI
12kHz
See Appendix B for further details and drawings of
-15
+15
-15
U
the connectors you can use with the 1202-VLZ3. Also see
MID
2.5kHz
the Channel Strip description on page 13 for details of
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+15
-15
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the signal routing from the XLR and Line inputs.
LOW
80Hz
-15
+15
-15
PAN
1. MIC INPUTS (Channels 1–4)
L R
1
We use phantom-powered, balanced microphone
MUTE
MUTE
ALT 3 – 4
ALT 3 – 4
inputs just like the big studio mega-consoles, for exactly
PRE FADER
PRE FADER
SOLO
SOLO
the same reason: This kind of circuit is excellent at re-
U
jecting hum and noise. You can plug in almost any kind
of mic that has a standard XLR male mic connector.
+12dB
O O
LEVEL
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
you can toss at them, without overloading. Be sure to
perform the Level-Setting Procedure on page 3.
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.
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
10-VLZ3
2
4
3
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
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
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
LEVEL
L /
R
ALL BAL/UNBAL
MONO
TAPE
TAPE
INPUT
OUTPUT
1
1
L
L
R
2
2
R
AUX SEND
MONO
MONO
MONO
L
L
L
5
5
5
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
The 1202-VLZ3's phantom power is globally controlled
by the PHANTOM [22] switch on the rear panel. (This
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+15
+15
O O
O O
O O
U
U
U
means the phantom power for channels 1-4 is turned on
and off together.)
+15
+15
+15
O O
O O
O O
U
EQ
U
EQ
U
EQ
HI
HI
HI
12kHz
12kHz
12kHz
Never plug single-ended (unbalanced) micro-
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+15
-15
+15
-15
+15
U
U
U
phones or instruments into the MIC [1] input
MID
MID
MID
2.5kHz
2.5kHz
2.5kHz
jacks if the phantom power is on.
-15
+15
-15
+15
-15
+15
U
U
U
LOW
LOW
LOW
80Hz
80Hz
Do not plug instrument outputs into the MIC
80Hz
-15
+15
-15
+15
-15
+15
PAN
PAN
PAN
input jacks with phantom power on, unless
you know for certain it is safe to do so.
L R
L R
L R
5/6
7/8
9/10
MUTE
MUTE
MUTE
ALT 3 – 4
ALT 3 – 4
ALT 3 – 4
2. LINE INPUTS (Channels 1–4)
PRE FADER
PRE FADER
PRE FADER
SOLO
SOLO
SOLO
U
U
U
These four line-inputs share circuitry (but not phan-
tom power) with the mic preamps, and can be driven
+12dB
+12dB
+12dB
O O
O O
by balanced or unbalanced sources at almost any level.
O O
LEVEL
LEVEL
LEVEL
You can use these inputs for virtually any signal you'll
come across, from instrument levels as low as –40 dB to
operating levels of –10 dBV to +4 dBu, since there is 40
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.
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.
BAL /UNBAL
L
L
R
R
MAIN OUT
MONO
L
5
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
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+15
U
SOURCE
MID
2.5kHz
MAIN MIX
-15
+15
U
LOW
ALT 3 – 4
80Hz
-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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