Mackie 1202-VLZ Pro Owner's Manual - Page 10

1202-VLZ PRO PATCHBAY DESCRIPTION At the risk of stating the obvious, this is where you plug everything in: microphones, line-level instruments and effects, headphones, and the ultimate destination for your sound: a tape recorder, PA system, etc. 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 rejecting hum and noise. You can plug in almost any kind of mic that has a standard XLR-type male mic connector. To learn how signals are routed from these inputs: . If you wire your own, connect them like this: SHIELD 2 HOT COLD 3 1 SHIELD 1 COLD 3 2 HOT 1 3 2 SHIELD COLD HOT Pin 1 = Ground or shield Pin 2 = Positive (+ or hot) Pin 3 = Negative (- or cold) Professional ribbon, dynamic, and condenser mics will all sound excellent through these inputs. The 1202-VLZ PRO'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: . 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. (Semipro 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. The 1202-VLZ PRO's phantom power is globally controlled by the PHANTOM switch on the rear panel . (This means the phantom power for channels 1-4 is turned on and off together.) Never plug single-ended (unbalanced) microphones or instruments into the MIC 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. LINE INPUTS (Channels 1-4) These four line inputs share circuitry (but not phantom 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 -40dB to operating levels of -10dBV to +4dBu, since there is 40dB more gain available than on channels 5-12. To learn how signals are routed from these inputs: . MIC 1 XDR MIC PRE MIC 2 XDR MIC PRE MIC 3 XDR MIC PRE MIC 4 XDR MIC PRE LEFT/MONO RIGHT 1 ALL BAL/UNBAL 1 LEFT RIGHT 2 L 2 R BAL/UNBAL L R BAL OR UNBAL BAL OR UNBAL BAL OR UNBAL BAL OR STEREO AUX RETURN UNBAL MONO AUX SEND MONO LINE IN 1 LOW CUT 75 Hz 18dB/OCT U M-1IC0dGBAVIN LINE IN 2 LOW CUT 75 Hz 18dB/OCT U M-1IC0dGBAVIN LINE IN 3 LOW CUT 75 Hz 18dB/OCT U M-1IC0dGBAVIN LINE IN 4 LOW CUT 75 Hz 18dB/OCT U M-1IC0dGBAVIN L BAL OR UNBAL R L BAL OR UNBAL R 0 60 +15dB -45dB TRIM 0 60 +15dB -45dB TRIM 0 60 +15dB -45dB TRIM 0 60 +15dB -45dB TRIM LINE IN 5-6 LINE IN 7-8 TAPE TAPE INPUT OUTPUT MONO L BAL OR UNBAL R MAIN OUT MONO L BAL OR UNBAL R LINE IN 9-10 LINE IN 11-12 10