Mackie 1202-VLZ Pro Owner's Manual - Page 11

To connect balanced lines to these inputs, use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, the type found on stereo headphones: RING SLEEVE SLEEVE RING TIP TIP RING TIP SLEEVE Tip = Positive (+ or hot) Ring = Negative (- or cold) Sleeve = Shield or ground To connect unbalanced lines to these inputs, use a 1⁄4" mono (TS) phone plug or standard instrument cable: SLEEVE SLEEVE TIP Another way to consider +15 LOW CUT's function is that it +10 +5 actually adds flexibility during 0 live performances. With the -5 addition of LOW CUT, you can -10 safely use LOW equalization on -15 20Hz 100Hz 1kHz 10kHz 20kHz vocals. Many times, bass Low Cut with Low EQ shelving EQ can really benefit voices. Trouble is, adding LOW EQ also boosts stage rumble, mic handling clunks and breath pops. 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. TRIM (Channels 1-4) TIP Tip = Signal TIP Sleeve = Ground SLEEVE LINE IN inputs 1-4 are a good place to con- nect older instruments that need more gain. You can correct weak levels by adjusting the corresponding channel's TRIM control . LOW CUT (Channels 1-4) The LOW CUT switch, often referred to as a High Pass Filter (all depends on how you look at it), cuts bass frequencies below 75Hz at a rate of 18dB per octave. We recommend that you use LOW CUT on every microphone application except kick drum, bass guitar, bassy synth patches, or recordings of earthquakes. 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 possibility of feedback in live situations and it helps to conserve the amplifier power. If you haven't already, please read the LevelSetting Procedure . TRIM adjusts the input sensitivity of the mic and line inputs connected to channels 1 through 4. This allows signals from the outside world to be adjusted to optimal internal operating levels. If the signal originates through the XLR jack, there will be 0dB of gain with the knob fully down, ramping to 60dB of gain fully up. Through the 1⁄4" input, there is 15dB of attenuation fully down and 45dB of gain fully up, with a "U" (unity gain) mark at 10:00. This 15dB of attenuation can be very handy when you are inserting a signal that is very hot, or when you want to add a lot of EQ gain, or both. Without this "virtual pad," a scenario like that might lead to channel clipping. +15 +10 +5 0 -5 -10 -15 20Hz 100Hz 1kHz Low Cut 10kHz 20kHz 11