Mackie 1202VLZ4 Musical Toy Instrument User Manual


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9
Owner’s Manual
Owner’s Manual
5. Stereo Line Ins
(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
professionalorsemi-proinstrument,effectorCDplayer.
Inthestereoaudioworld,anodd-numbered
channelusuallyreceivesthe“leftsignal.”Forexample,
youwouldfeedthe1202VLZ4’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
channel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gment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1202VLZ4.
Weloveyou,man!
Effects: Serial Or Parallel?
Thenexttwosectionstosstheterms“serial”and
“parallel”aroundlikehackysacks.Here’swhatwemean
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,
orpreferablythroughtheinsertjackslocatedonthe
rearpanel(channelinsert[17]send/return).
“Parallel”meansthataportionofthesignalinthe
mixeristappedofftothedevice(auxsend),processed
andreturnedtothemixer(stereoreturn)tobemixed
withtheoriginal“dry”signal.Thisway,multiple
channelscanallmakeuseofthesameeffectsdevice.
Examples:reverb,digitaldelay.
Dry Signal
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
Dry Signal
Processed
Signal
Insert
Send
Insert
Return
Dry Signal(s)
Dry Signal(s)
Aux
Send
Aux
Return
Wet Signal
Channel Path
Mix
Stage
Output
Section
Processed
Signal
Signal Processor
(e.g., Compressor)
Signal Processor
(e.g., Reverb)
3. Low Cut (Channels 1–4)
Eachlowcutswitch,oftenreferredtoasahighpass
lter(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
microphoneapplicationexceptkickdrum,bassguitar,
orbassysynthpatches.Theseaside,thereisn’tmuch
downtherethatyouwanttohear,andltering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amplierpower.
Anotherwaytoconsiderlow-cut’sfunction
isthatitactuallyaddsexibilityduringlive
performances.Withtheadditionoflow-cut,
youcansafelyuselowequalizationonvocals.
Manytimes,bassshelvingEQcanreallybenet
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blowingyoursubwoofers.
Here’swhatthecombinationoflowEQandlow-cut
lookslikeintermsoffrequencycurves:
4. Gain (Channels 1–4)
Ifyouhaven’talready,pleasereadthelevel-setting
procedureonpage5.
Gain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0dBofgainwiththeknobfullydown,rampingto
60dBofgainfullyup.
Throughthe1⁄4"input,thereis20dBofattenuation
fullydownand40dBofgainfullyup,witha“U”(unity
gain)markat10:00.This20dBofattenuationcanbe
veryhandywhenyouareinserting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.
Low Cut with Low EQ
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
20
Hz
100
Hz
1k
Hz
10k
Hz
20k
Hz
–15
–10
–5
0
+5
+10
+15
Low Cut
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