Low Cut (Channels 1-4); Gain (Channels 1-4); Stereo Line Inputs; Imaginary Control - Mackie 1202-VLZ3 Owner's Manual

3. LOW CUT (Channels 1–4)
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.
We recommend that you use low-cut on every micro-
phone application except kick drum, bass guitar, or
bassy synth patches. These aside, there isn't much down
there that you want to hear, and filtering it out makes
the low stuff you do want much more crisp and tasty.
Not only that, but low-cut can help reduce the possibili-
ty of feedback in live situations, and it helps to conserve
amplifier power.
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.
Here's what the combination of low EQ and low-cut
looks like in terms of frequency curves:
+15
+10
+5
1
MIC MIC
0
–5
–10
–15
20 100 1k 10k
Hz Hz Hz Hz
Low Cut
4. GAIN (Channels 1–4)
If you haven't already, please read the Level-Setting
Procedure on page 3.
BAL
OR
GAIN adjusts the input sensitivity of the mic and line
UNBAL
inputs connected to channels 1 through 4. This allows
LINE IN 1 signals from the outside world to be adjusted to optimal LINE IN 2
LOW CUT
internal operating levels.
75 Hz
18dB/OCT
If the signal originates through the XLR
jack, there will be 0 dB of gain with the
U U
knob fully down, ramping to 60 dB of
gain fully up.
0 60 0
+15dB -45dB +15dB -45dB
GAIN 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
AUX
U U
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.
+15 +15
O O O O
U U
+15 +15
O O O O
EQ
U U
HI
12kHz
-15 +15 -15 +15
U U
POWER PHANTOM
ON ON
+15
+10
+5
2
3
MIC
0
–5
–10
–15
20 100 1k 10k
20k
Hz Hz Hz Hz
Low Cut with Low EQ
BAL BAL
OR OR
UNBAL UNBAL
LINE IN 3
LOW CUT LOW CUT
75 Hz 75 Hz
18dB/OCT 18dB/OCT
U
60 0 60
+15dB -45dB
GAIN
AUX AUX
U
+15
O O
U
+15
O O
EQ EQ
U
HI HI
12kHz 12kHz
-15 +15
U

5. STEREO LINE INPUTS

(Channels 5–6, 7–8, 9–10 and 11–12)
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.
L MAIN
In the stereo audio world, an odd-numbered chan-
BALANCED
nel usually receives the "left signal." For example, you
would feed the 1202-VLZ3's line inputs 5-6 a stereo
signal by inserting the device's left output plug into the
channel 5 jack, and its right output plug into the chan-
nel 6 jack.
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!
4
MIC
L /

EFFECTS: SERIAL OR PARALLEL?

The next two sections toss the terms "serial" and
"parallel" around like hacky sacks. Here's what we mean
20k
Hz Hz
by them:
"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,
BAL
OR
or preferably through the insert jacks located on the
UNBAL
rear panel (CHANNEL INSERT [17] send/return).
LINE IN 4
Insert
LOW CUT
Send
75 Hz
18dB/OCT
Signal Processor
(e.g., Compressor)
Dry Signal
U
"Parallel" means that a portion of the signal in the
0 60
Aux
mixer is tapped off to the device (AUX SEND), pro-
+15dB -45dB Send
GAIN
Insert
cessed and returned to the mixer (STEREO RETURN)
Signal Processor
Send
(e.g., Reverb)
to be mixed with the original "dry" signal. This way,
Signal Processor
(e.g., Compressor)
Dry Signal
multiple channels can all make use of the same effects
AUX
Channel Path
device. Examples: reverb, digital delay. U
Dry Signal(s)
Aux
Send
+15
Signal Processor
O O
U
Channel Path
Dry Signal(s) +15
O O
EQ
U
HI
12kHz
-15 +15
U
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
CONTROL
BAL/UNBAL
R
MAIN
OUTPUT
LEVEL
R ALL BAL/UNBAL
MONO
1
L R
2
AUX SEND
MONO
L
Insert
Return
BAL
OR
UNBAL
R
Aux Output
Return Section
LINE IN 5 – 6 LINE IN 7 – 8
Insert
Return
Wet Signal
AUX
U U
Dry Signal(s)
Aux
Return
+15 +15
O O O O
(e.g., Reverb)
U Wet Signal U
Dry Signal(s)
+15 +15
O O O O
EQ
U U
HI
Owner's Manual
12kHz
-15 +15 -15 +15
U U
WAR
EXPOSE TH
NO USER S
AVIS:
ROOM OU
BAL
L R/4
TAPE TA
INPUT OUT
1
L
2
R
MONO MONO
L L
BAL BAL
OR OR
UNBAL UNBAL
Processed
Signal
R R
LINE IN 9 – 10
Processed
Mix Processed
Signal
Stage Signal
AUX AUX
U
Output
Section
+15
O O
U
Mix Processed
Stage Signal
+15
O O
EQ EQ
U
9
HI HI
12kHz 12kHz
-15 +15
U
X
A