Mackie 1202-VLZ Pro User manual

12-Channel Mic/Line Mixer
RM1202-VLZ Rack-mount brackets (not included),
1402-VLZ PRO 14-Channel Mic/Line Mixer, 1604-VLZ
PRO 16-Channel Mic/Line Mixer, 1642-VLZ PRO 16-Chan-
nel Mic/Line Mixer, SRM350/SRM450 Active 2-Way SR
Loudspeakers, M•800/M•1400i/M•1400 Power Ampli-
fiers, C200/C300z passive 2-way SR Loudspeakers
Live sound mixing: small churches, clubs,
school auditoriums, school sports centers,
conference centers, boardrooms, trade
shows, presentations
Studio and field recording
Multimedia applications: A/V presentations,
video post production, CD authoring
Broadcast: live remotes, ENG, ad production
4 low noise, high headroom XDR™ (Extended
Dynamic Range) XLR mic inputs with the best
RF rejection of any compact mixer available and
maximum freedom from ground loops
4 balanced/unbalanced mono line inputs
4 pairs of balanced/unbalanced stereo line inputs
48V global phantom power
3-Band EQ (12kHz, 2.5kHz, 80Hz)
75Hz, 18dB/octave Low Cut filters on Channels 1–4
PFL Solo on all channels
Very Low Impedance (VLZ) architecture
EFX to Monitor switch
Alt 3-4 extra stereo bus
Balanced inputs and outputs (except RCAs,
phones and inserts)
Balanced XLR Main L/R outputs with mic/line
level switch, plus 1/4" (TRS) Main L/R outputs
60dB Gain on Channels 1–4
Global Aux 1 Pre/Post-Fader switch
Level Set LED and marker
Features
Applications
The 1202-VLZ PRO is the updated, upgraded version
of Mackie’s classic 12-channel compact mic/line
mixer. The unit incorporates Mackie’s new ultra-high
quality XDR™(Extended Dynamic Range) mic preamps
with the best RFI rejection of any compact mixer
design. Added benefits include maximum freedom
from ground loops and impeccable sonic performance
that meets or exceeds the specs of esoteric, outboard
mic preamplifiers. The XDR design is the only compact
mixer mic preamp that is totally impedance indepen-
dent: frequency response does not change even with
extremely long cable runs or exceptionally high-imped-
ance mic inputs.
To greatly reduce the effects of wind noise and mic
thumps, each of the four mic channels has a sharp,
18dB/octave, 75Hz Low Cut filter.
Mute/Alt 3-4 effectively creates a second stereo bus.
The Mute button on each channel mutes that channel in
the Main Mix, but also acts as a router to the 3-4 stereo
bus, greatly increasing signal routing flexibility.
The EFX to Monitor feature allows routing ofreverb or
other effects signals back into a monitor mixvia AuxSend 1.
Aux 1’s Pre/Post switch can be set for pre-fader/post-EQ
use, which is beneficial for stage monitor mixes, or post-
fader/post-EQ for use with external effects. It also has a
level control for added flexibility.
Control Room/Phones has its own level control,
outputs and input matrix for selecting any combination
of Main Mix, Tape In and Alt 3-4 to create custom
headphone mixes, to monitor tape levels, and more.
A separate switch routes this multi-source signal back
into the Main Mix.
Because of its many features and durability, the
1202-VLZ PRO can be used for extra studio-grade pre-
amps, as aux inputs for a mixing console, or as an
impedance- or level-matching audio toolkit.
Introduction

Mic Preamp
Equivalent Input Noise (20Hz–20kHz):
150Ω–129.5dBu
50Ω–131.0dBu
0Ω–134.5dBu
Frequency Response:
–1dB 5Hz–100kHz
–3dB 3Hz–192kHz
IM Distortion (4 to 1 ratio SMPTE)
35dB gain 0.0008%
Harmonic Distortion (20Hz–20kHz)
35dB gain 0.0007%
Gain
Max +60dB
Min 0dB or Unity
Max Input +22dB
Input Impedance 1.3kΩ
Common Mode Rejection > 90dB
Common Mode Rejection Ratio > 140dB
Main Mix Noise1
Main Mix down, ch. Gain down: –104dB
Main Mix @ unity, ch. Gain down: –90.5dB
Main Mix knob @ unity, ch. Gain @ unity: –88.5dB
Total Harmonic Distortion (THD)2
0.005%
Attenuation (Crosstalk)3
Main Mix knob down: –85dBu
Channel Mute/Alt 3-4 switch engaged: –84dBu
Channel Gain knob down: –83dBu
Frequency Response4
20Hz to 60kHz: +0dB/–1dB
20Hz to 100kHz: +0dB/–3dB
Maximum Levels
Mic input: +22dBu
Tape input: +16dBu
All other inputs: +22dBu
Main Mix XLR outputs: +28dBu
All other outputs: +22dBu
Impedances
Mic input: 1.3kΩ
Channel Insert return: 2.5kΩ
All other inputs: > 10kΩ
Tape output: 1.1kΩ
All other outputs: 120Ω
Specifications footnotes:
1) 20Hz–20kHz bandwidth, 1/4" Main out, channels 1–4 Trim @ unity gain, channel EQs flat, all
channels assigned to Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right. Reference +4dBu.
2) 1kHz @ +14dBu, 20Hz–20kHz.
3) 1kHz relative to 0dBu, 20Hz–20kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity.
4) Any input to any output.
Specifications
EQ
High Shelving: ±15db @ 12kHz
Mid Peaking: ±12dB @ 2.5kHz
Low Shelving: ±15db @ 80Hz
Power Consumption
120VAC, 50/60Hz, 25 Watts
Physical
Weight: 6 lbs. 8 oz. (3 kg)
Dimensions: 11.8" x 11.2" x 2.6"
(300mm x 284mm x 66mm)
11.2"
(284mm)
6 rack
spaces
11.8" (300mm)
with optional rack ears (RM1202-VLZ)
11.8"
(
300mm
)
11.2" (284mm)
19" (483mm)
2.6"
(66mm)
2.6"
(66mm)

75Hz HPF
MID HI
80 2K5 12K
LO
MID HI
80 2K5 12K
LO
MID HI
80 2K5 12K
LO
SOLO
RELAY
28 10 7 4 2 0 2 4 7 10 20 30
MAIN L
MAIN R
ALT L
ALT R
AUX SEND 1 PRE
AUX SEND 1 POST
AUX SEND 2 POST
SOLO
LOGIC
PHANTOM POWER
MIC IN LINE IN
TRIM
INSERT
LO CUT
3-BAND EQ
GAIN PAN MAIN / ALT
AUX SENDS
SOLO (PFL)
MONO CHANNEL (1 OF 4)
2
1
3
STEREO CHANNEL (1 OF 4) LINE IN L LINE IN R
3-BAND EQ
GAIN PAN
MAIN / ALT
AUX RETURN 1
L IN
R IN AUX RETURN 2
L IN (MONO)
R IN
GAIN
GAIN
EFX TO MONITOR
MAIN MIX MAIN
LEVEL 30dB PAD
TAPE OUT L LINE OUT L BAL OUT L BAL OUT R LINE OUT R
ALT MIX
ALT OUT L
ALT OUT R
ALT
TAPE MAIN
SOURCE
CONTROL ROOM & PHONES LEVEL
METERING
(0dBu = 0VU)
LEFT
RIGHT
CONTROL ROOM OUT
PHONES OUT
AUX MIX
AUX 1 PRE / POST
AUX SEND 2
AUX SEND 1
SOLO MIX
ASSIGN TO MAIN
TAPE IN +6dB L RCONTROL ROOM &
PHONES MIX
2 31 2 31
RUDE SOLO LED
SOLO (PFL)
AUX 2
AUX 1
AUX 1 LEVEL
TAPE OUT R

1. GENERAL CONFIGURATION. The mixer shall
accommodate 4 microphone signals: mono chan-
nels 1–4; 12 line signals: mono channels 1–4 and
stereo channels 5–12; 2 stereo pairs of Aux Return
inputs; 4 Send/Return channel Inserts; 2 stereo
pairs of Main Mix outputs; 1 stereo pair of RCA-type
Tape Inputs; 1 stereo pair of RCA-type Tape Out-
puts; 1 stereo pair of Control Room outputs; 1
stereo pair of Alt 3-4 outputs; 2 Aux Send outputs;
and 1 stereo headphone output. The mixer shall be
capable of placement on a table or installation in
a standard 19-inch rack mount (using optional rack
rail brackets) and shall be entirely self-contained.
2. MIXER INPUTS.
MONO CHANNELS 1–4: The mixer shall include 4
XDR electronically balanced mic inputs, using XLR-
3-F-type connectors, accepting nominal levels from
–60dBu to +4dBu via 4 rotary Trim controls. 48V
phantom power shall be available via a globally-con-
trolled rocker-type switch. 4 balanced or unbalanced
line inputs shall be wired in parallel, using 1/4" TRS
phone jacks, accepting nominal levels from –45dBu
to +4dBu. The mixer shall include 4 channel Inserts
using 1/4" TRS phone jacks (tip=send, ring=return,
sleeve=ground), delivering and accepting nominal
levels from –10dBV to +4dBu.
STEREO CHANNELS 5/6, 7/8, 9/10 and 11/12: The
mixer shall include 8 bal/unbal line inputs, forming 4
stereo input pairs, using 1/4" TRS phone jacks and
accepting nominal levels from –10dBV to +4dBu.
OTHER INPUTS: The mixer shall include 4 bal/unbal
Aux Return inputs, forming two stereo pairs, using
1/4" TRS phone jacks and accepting nominal levels
from –10dBV to +4dBu. The mixer shall include 1
stereo pair of Tape In jacks, using unbalanced RCA-
type phono jacks, accepting nominal levels from
–20dBV to +4dBu.
3. MIXER OUTPUTS.
MAIN OUTPUTS: The mixer’s Main Output stereo
pairs shall be fitted in three ways: Using balanced
XLR-3-M-type connectors, maximum output of
+28dBu, including 1 Main Output Level switch to
provide 30dB attenuation (XLR outputs only); using
bal/unbal 1/4" TRS phone jacks, delivering nominal
levels from –10dBV to +4dBu; and using unbal-
anced RCA-type phono jacks (labeled TAPE OUT)
delivering nominal levels from –10dBV to +4dBu.
OTHER OUTPUTS: The mixer shall include 1
stereo pair of Alt 3-4 outputs using bal/unbal 1/4"
TRS phone jacks, delivering nominal levels from
–10dBV to +4dBu; 1 stereo pair of Control Room out-
puts using bal/unbal 1/4" TRS phone jacks, deliver-
ing nominal levels from –10dBV to +4dBu; 2 Aux
Send outputs using bal/unbal 1/4" TRS phone jacks,
delivering nominal levels from –10dBV to +4dBu;
and 1 stereo Headphones output using an unbal-
anced 1/4" TRS phone jack (tip=left, ring=right,
sleeve=ground).
4. MIXER INPUT SECTION. Each channel shall include
1 rotary Trim control; 1 Low Cut filter (HPF), providing
an 18dB per octave curve starting at 75Hz; 2 rotary
Aux Send controls, providing up to 15dB above unity
gain; 3 rotary equalization (EQ) controls: +15dB @
12kHz shelving, +12dB @ 2.5kHz peaking and +15dB
@ 80kHz shelving; 1 rotary Pan control, 4dB attenu-
ation panned center; 1 Mute/Alt 3-4 switch, to be
used as a channel mute or to route the signal to the
alternate stereo bus (Alt 3-4); 1 PFL (Pre-Fader Listen
solo) switch; and 1 rotary channel Gain control, provid-
ing up to 20dB above unity gain. Note: The stereo chan-
nels (5/6, 7/8, 9/10 and 11/12) shall not include the
Trim or Low Cut controls.
5. MIXER OUTPUT SECTION. The mixer shall have 1
rotary Main Mix control, providing up to 10dB above
unity gain; 1 rotary Control Room/Phones control,
providing up to 10dB above unity gain; 1 Source
Matrix including 3 switches to deliver any combina-
tion of stereo signals to the Control Room, Phones
and Meters, including Main Mix, Alt 3-4 and Tape,
which shall be replaced by any solo signals resulting
from the engagement of any channel’s PFL switch;
1 Assign to Main Mix switch to deliver the Source
Matrix signals to the Main Mix; 2 rotary Aux Return
level controls, providing up to 20dB above unity
gain; 1 rotary Aux Send 1 Master control, providing
up to 10dB above unity gain; 1 Aux Send 1 global
Pre/Post switch; 1 EFX to Monitor switch, allowing
Aux Return 1 signals to be delivered to Aux Send 1
via the Aux Return 2 level control; and 1 blinking red
Solo LED, to indicate a solo condition.
6. METERING. The mixer shall include 1 stereo 12-segment
LED meter with points at –30, –20, –10, –7, –4, –2, 0, +2,
+4, +7, +10 and 28dB (clip). The source signals for the meters
shall be the same signals selected in the Source Matrix, and
a solo condition shall replace the Source selection with the
soloed channel(s). The meters shall be calibrated so that a
0dBu signal at the Control Room output shall be indicated
as 0dB on the meters, ±1dB.
Architect’ and Engineer’s Specifications

Part No. 091-294-00 Rev. B
www.mackie.com
16220 Wood-Red Road NE, Woodinville, WA 98072 USA
800.898.3211, fax [phone], [e-mail]
UK +44.1268.570.808, fax [phone], [email protected]om
LOUD Technologies continually engages in research related to product improvement. New
material, production methods, and design refinements are introduced into existing products
without notice as a routine expression of that philosophy. For this reason, any current LOUD
Technologies product may differ in some respect from its published description, but will
always equal or exceed the original design specifications unless otherwise stated. ©1999-
2004 LOUD Technologies Inc. All rights reserved.
FILES FOR DOWNLOADING
1202VLZP.PDF this specification sheet
1202AE.TXT text version of Architect’s and
Engineer’s Specifications for insertion into proposals
7. PHYSICAL CONFIGURATION. The mixer shall be
made of steel, painted dark gray with light gray graph-
ics. The mixer’s dimensions shall be 2.6" (66mm) in
height, 11.8" (300mm) in width and 11.2" (284mm) in
depth, as viewed horizontally. The mixer shall weigh 6
lbs, 8 oz (14.3 kg). Optional RM1202-VLZ rack-mount
brackets shall allow the mixer to be mounted in a rack
system, with either the chassis top or the control knobs’
tops to be flush with the rack rail.
8. SPECIFICATIONS. In addition to specifications
already cited, the mixer shall meet or exceed
the following specifications: Frequency response:
microphone input to any output, 20Hz to 60kHz,
+0dB/–1dB; Total Harmonic Distortion (THD): 1Khz
@ +14dBu, 0.0007%; Equivalent Input Noise (EIN):
microphone input to insert send, –129.5dBm:
Common Mode Rejection (CMR): microphone input to
insert send, maximum gain, 1kHz, better than 90dB;
Typical Main Output noise: all channels assigned,
channels 1 and 3 panned left, channels 2 and 4
panned right, main mix @ unity, channel gain @
unity, –86dBu; Signal to Noise ratio: ref +4dBu oper-
ating level, 90dB; Attenuation: ref. 0dB @ 1kHz,
Main Mix level control down, –85dBu; channel
Mute engaged, –84dBu; channel Gain control down,
–83dBu; Input impedance: microphones input,
1.3kΩ; channel Insert return, 2.5kΩ; all other inputs,
greater than 10kΩ; Output impedance: Tape Out,
1.1kΩ; all other outputs, 120Ω.
The mixer shall be a Mackie 1202-VLZ PRO.