Mackie 1202 Manuel du propriétaire télécharger pdf (Page 10)

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, head-

phones, 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:

Pin 1 = Ground or shield

Pin 2 = Positive (+ or hot)

Pin 3 = Negative (– or cold)

Professional ribbon, dynamic, and con-

denser 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 per-

form 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 glo-

bally 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) micro-

phones 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:

.

LINE IN 1

LINE IN 2

LINE IN 3

LINE IN 4

L

MONO

L

MONO

L

MONO

L

MONO

LINE IN 5-6

R

R

R

R

AUX SEND

TAPE

INPUT

TAPE

OUTPUT

L

R

1

2

1

2

RIGHT

L

R

RIGHT

MIC

1

MIC

2

MIC

3

MIC

4

LEFT

LEFT/

MONO

STEREO AUX RETURN

MAIN OUT

BAL/UNBAL

LINE IN 7-8

LINE IN 9-10

LINE IN 11-12

BAL

OR

UNBAL

BAL

OR

UNBAL

BAL

OR

UNBAL

BAL

OR

UNBAL

BAL

OR

UNBAL

BAL

OR

UNBAL

BAL

OR

UNBAL

BAL

OR

UNBAL

ALL BAL/UNBAL

LOW CUT

75 Hz

18dB/OCT

TRIM

+15dB -45dB

M

I

C

G

A

I

N

0

U

60

-

1

0

d

B

V

LOW CUT

75 Hz

18dB/OCT

TRIM

+15dB -45dB

M

I

C

G

A

I

N

0

U

60

-

1

0

d

B

V

LOW CUT

75 Hz

18dB/OCT

TRIM

+15dB -45dB

M

I

C

G

A

I

N

0

U

60

-

1

0

d

B

V

LOW CUT

75 Hz

18dB/OCT

TRIM

+15dB -45dB

M

I

C

G

A

I

N

0

U

60

-

1

0

d

B

V

X

D

R

M

I

C

P

R

E

X

D

R

M

I

C

P

R

E

X

D

R

M

I

C

P

R

E

X

D

R

M

I

C

P

R

E

2

2

3

1

1

SHIELD

COLD

HOT

SHIELD

COLD

HOT

3

SHIELD

COLD

HOT

3

2

1

1 2 ... 5 6 7 8 9 10 11 12 13 14 15 ... 35 36

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