Mackie 1202 Manuel du propriétaire télécharger pdf (Page 19)

live work) where it acts as an extra stereo bus.

To use this as a

MUTE

switch, all you have to

do is not use the

ALT 3-4

outputs. Then, when-

ever you assign a channel to these unused

outputs, you’ll also be disconnecting it from the

MAIN MIX

, effectively muting the channel.

To use this as an

ALT 3-4

switch, all you

have to do is connect the

ALT 3-4

outputs to

whatever destination you desire. Two popular

examples:

When doing multitrack recording, use the

ALT 3-4

outputs to feed your multitrack. With

most decks, you can mult the

ALT 3-4

outputs,

using Y-cords or mults, to feed multiple tracks.

So, take

ALT OUTPUT L

and send it to tracks

and

, and

ALT OUTPUT R

and send it

to tracks

and

. Now, tracks that are in

Record or Input modes will hear the

ALT 3-4

signals, and tracks in Playback or Safe modes

will ignore them.

When doing live sound or mixdown, it’s often

handy to control the level of several channels

with one knob. That’s called su/jointfilesconvert/363033/bgrouping. Sim-

ply assign these channels to the

ALT 3-4

mix,

engage

ALT 3-4

in the

SOURCE

matrix, and the

signals will appear at the

CONTROL ROOM

and

PHONES

outputs. If you want the

ALT 3-4

signals to go back into the

MAIN MIX

, engage

the

ASSIGN TO MAIN MIX

switch , and the

CONTROL ROOM/SUBMIX

level control be-

comes the one knob to control the levels of all

channels assigned to

ALT 3-4

Another way to do the same thing is assign

the channels to the

ALT 3-4

mix, then patch

out of the

ALT OUTPUT

and

back into an

unused stereo channel (

–

). If that’s your choice, don’t ever engage

the

MUTE/ALT 3-4

switch on that stereo chan-

nel, or you’ll have every dog in the

neighborhood howling at your feedback loop.

Another benefit of the

ALT 3-4

feature is

that it can act as a “SIP” (Solo-In-Place): just

engage a channel's

MUTE/ALT 3-4

switch and

the

ALT 3-4

switch in the

SOURCE

matrix

and you’ll get that channel, all by itself, in the

CONTROL ROOM

and

PHONES

MUTE/ALT 3-4

is one of those controls that

can bewilder newcomers, so take your time and

play around with it. Once you’ve got it down,

you’ll probably think of a hundred uses for it!

PAN

adjusts the amount of channel signal

sent to the left versus the right outputs. On

mono channels (ch.

–

with con-

nections to the

input only) these controls

act as pan pots. On stereo channels (

–

)

with stereo connections to

and

inputs, the

PAN

knob works like the balance control on

your home stereo.

PAN

determines the fate of the

MAIN MIX

(

–

) and

ALT 3-4

mix. With the

PAN

knob

hard left, the signal will feed either

MAIN OUT

(bus

) or

ALT OUTPUT L

(bus

), depending

on the position of the

ALT 3-4

switch. With the

knob hard right, the signal feeds

MAIN OUT R

(bus

) or

ALT OUTPUT R

(bus

CONSTANT

LOUDNESS ! ! !

The 1202-VLZ PRO’s

PAN

controls employ a de-

sign called “Constant

Loudness.” It has nothing to do with living

next to a freeway. As you turn the

PAN

knob

from left to right (thereby causing the sound

to move from the left to the center to the

right), the sound will appear to remain at the

same volume (or loudness).

If you have a channel panned hard left (or

right) and reading 0dB, it must dip down

about 4dB on the left (or right) when panned

center. To do otherwise (the way Brand X com-

pact mixers do) would make the sound appear

much louder when panned center.

3-BAND EQ

The 1202-VLZ PRO has 3-

band equalization at carefully

selected points —

LOW

shelving at 80Hz,

MID

peaking at 2.5kHz, and

shelving at 12kHz. “Shelving” means that the

circuitry boosts or cuts all frequencies past the

specified frequency. For example, rotating the

1202-VLZ PRO’s

LOW EQ

knob 15dB to the

right boosts bass starting at 80Hz and continu-

ing down to the lowest note you never heard.

“Peaking” means that certain frequencies form a

“hill” around the center frequency — 2.5kHz in

the case of the

MID EQ

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Mackie 1202 Manuel du propriétaire Page 19

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