Mackie 1202-VLZ4 Owners Manual - Page 8

Patchbay Description, 1. Mic Ins (Channels 1-4), Phantom Power, 2. Line Ins (Channels 1-4 - onyx

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1202VLZ4 Patchbay Description 1 2 3 5 4 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: PA system, DAW, etc. See Appendix B for further details and drawings of the connectors you can use with the 1202VLZ4. Also see the channel strip description on page 13 for details of the signal routing from the XLR and line inputs. 1. Mic Ins (Channels 1-4) This is a female XLR connector that accepts a balanced mic or line level input from almost any type of source. These Onyx mic preamps feature higher fidelity and headroom rivaling any standalone mic preamp on the market today. These circuits are­ e­ xcellent at rejecting hum and noise. The XLR inputs are wired as follows: Pin 1 = Shield or ground Pin 2 = Positive (+ or hot) Pin 3 = Negative (- or cold) Professional ribbon, dynamic, and condenser mics all sound excellent through these inputs. The mic/line inputs will handle any kind of level you can toss at them, without overloading. Microphone-level signals are passed through the mixer's splendid microphone preamplifiers to become line-level signals. 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 recommendations for a good DI box. 8 1202VLZ4 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. The 1202VLZ4's phantom power is globally ­controlled by the phantom [22] switch on the rear panel. (This means the phantom power for channels 1-4 is turned on and off together.) Never plug ­s­ ingle-ended (unbalanced) micro­phones or ­instruments into the mic [1] input jacks if the ­phantom power is on. Do not plug instrument outputs into the mic input jacks with phantom power on, u­ nless you know for certain it is safe to do so. 2. Line Ins (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 a­ lmost any level. To connect balanced lines to these inputs, use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, wired as follows: 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, wired as follows: Tip = Positive (+ or hot) Sleeve = Shield or ground 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.

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8
1202VLZ4
1202VLZ4
Patchbay Description
1
2
3
4
5
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: PA system, DAW, etc.
See Appendix B for further details and drawings of
the connectors you can use with the 1202VLZ4. Also see
the channel strip description on page 13 for details of
the signal routing from the XLR and line inputs.
1. Mic Ins (Channels 1–4)
This is a female XLR connector that accepts a
balanced mic or line level input from almost any type
of source. These Onyx mic preamps feature higher
fidelity and headroom rivaling any standalone mic
preamp on the market today. These circuits are
excellent at rejecting hum and noise.
The XLR inputs are wired as follows:
Pin 1 = Shield or ground
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
Professional ribbon, dynamic, and condenser mics all
sound excellent through these inputs. The mic/line
inputs will handle any kind of level you can toss at
them, without overloading.
Microphone-level signals are passed through the
mixer's splendid microphone preamplifiers to become
line-level signals.
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
recommendations 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.
The 1202VLZ4’s phantom power is globally controlled
by the phantom [22] 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 [1]
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.
2. Line Ins (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.
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, wired as follows:
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, wired as follows:
Tip = Positive (+ or hot)
Sleeve = Shield or ground
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.