Introduction 12-Channel Mic/Line Mixer

The 1202-VLZ PRO is the updated, upgraded version

of Mackie’s classic 12-channel compact mic/line
mixer. The unit incorporates Mackie’s new ultra-high
quality XDR™ (Extended Dynamic Range) mic preamps
with the best RFI rejection of any compact mixer
design. Added benefits include maximum freedom
from ground loops and impeccable sonic performance
that meets or exceeds the specs of esoteric, outboard
mic preamplifiers. The XDR design is the only compact
mixer mic preamp that is totally impedance indepen-
dent: frequency response does not change even with
extremely long cable runs or exceptionally high-imped-
ance mic inputs. Features
To greatly reduce the effects of wind noise and mic 4 low noise, high headroom XDR™ (Extended
thumps, each of the four mic channels has a sharp, Dynamic Range) XLR mic inputs with the best
18dB/octave, 75Hz Low Cut filter. RF rejection of any compact mixer available and
Mute/Alt 3-4 effectively creates a second stereo bus. maximum freedom from ground loops
The Mute button on each channel mutes that channel in 4 balanced/unbalanced mono line inputs
the Main Mix, but also acts as a router to the 3-4 stereo 4 pairs of balanced/unbalanced stereo line inputs
bus, greatly increasing signal routing flexibility. 48V global phantom power
The EFX to Monitor feature allows routing of reverb or 3-Band EQ (12kHz, 2.5kHz, 80Hz)
other effects signals back into a monitor mix via Aux Send 1. 75Hz, 18dB/octave Low Cut filters on Channels 1–4
Aux 1’s Pre/Post switch can be set for pre-fader/post-EQ PFL Solo on all channels
use, which is beneficial for stage monitor mixes, or post-
Very Low Impedance (VLZ) architecture
fader/post-EQ for use with external effects. It also has a
EFX to Monitor switch
level control for added flexibility.
Alt 3-4 extra stereo bus
Control Room/Phones has its own level control,
outputs and input matrix for selecting any combination Balanced inputs and outputs (except RCAs,
phones and inserts)
of Main Mix, Tape In and Alt 3-4 to create custom
Balanced XLR Main L/R outputs with mic/line
headphone mixes, to monitor tape levels, and more.
level switch, plus 1/4" (TRS) Main L/R outputs
A separate switch routes this multi-source signal back
60dB Gain on Channels 1–4
into the Main Mix.
Because of its many features and durability, the Global Aux 1 Pre/Post-Fader switch
1202-VLZ PRO can be used for extra studio-grade pre- Level Set LED and marker
amps, as aux inputs for a mixing console, or as an
impedance- or level-matching audio toolkit.
Applications
Live sound mixing: small churches, clubs,
school auditoriums, school sports centers,
conference centers, boardrooms, trade
shows, presentations
RM1202-VLZ Rack-mount brackets (not included),
Studio and field recording
1402-VLZ PRO 14-Channel Mic/Line Mixer, 1604-VLZ
PRO 16-Channel Mic/Line Mixer, 1642-VLZ PRO 16-Chan- Multimedia applications: A/V presentations,
video post production, CD authoring
nel Mic/Line Mixer, SRM350/SRM450 Active 2-Way SR
Loudspeakers, M•800/M•1400i/M•1400 Power Ampli- Broadcast: live remotes, ENG, ad production
fiers, C200/C300z passive 2-way SR Loudspeakers
Specifications
Mic Preamp EQ
Equivalent Input Noise (20Hz–20kHz): High Shelving: ±15db @ 12kHz
150Ω –129.5dBu Mid Peaking: ±12dB @ 2.5kHz
50Ω –131.0dBu
0Ω –134.5dBu Low Shelving: ±15db @ 80Hz
Frequency Response: Power Consumption
–1dB 5Hz–100kHz
–3dB 3Hz–192kHz 120VAC, 50/60Hz, 25 Watts
IM Distortion (4 to 1 ratio SMPTE) Physical
35dB gain 0.0008%
Weight: 6 lbs. 8 oz. (3 kg)
Harmonic Distortion (20Hz–20kHz)
35dB gain 0.0007% Dimensions: 11.8" x 11.2" x 2.6"
(300mm x 284mm x 66mm)
Gain
Max +60dB
Min 0dB or Unity
Max Input +22dB 11.8" (300mm)
Input Impedance 1.3kΩ
Common Mode Rejection > 90dB
Common Mode Rejection Ratio > 140dB

(284mm)
Main Mix Noise1

11.2"
Main Mix down, ch. Gain down: –104dB
Main Mix @ unity, ch. Gain down: –90.5dB
Main Mix knob @ unity, ch. Gain @ unity: –88.5dB
Total Harmonic Distortion (THD)2
0.005%
Attenuation (Crosstalk)3
Main Mix knob down: –85dBu
Channel Mute/Alt 3-4 switch engaged: –84dBu
spaces
6 rack

Channel Gain knob down: –83dBu

Frequency Response4
20Hz to 60kHz: +0dB/–1dB
20Hz to 100kHz: +0dB/–3dB
Maximum Levels
Mic input: +22dBu 19" (483mm)
Tape input: +16dBu with optional rack ears (RM1202-VLZ)
All other inputs: +22dBu
(66mm)
2.6"
Main Mix XLR outputs: +28dBu
All other outputs: +22dBu
11.2" (284mm)
Impedances
(66mm)

Mic input: 1.3kΩ

2.6"

Channel Insert return: 2.5kΩ

All other inputs: > 10kΩ
Tape output: 1.1kΩ 11.8" (300mm)
All other outputs: 120Ω
Specifications footnotes:
1) 20Hz–20kHz bandwidth, 1/4" Main out, channels 1–4 Trim @ unity gain, channel EQs flat, all
channels assigned to Main Mix, channels 1 and 3 Pan left, 2 and 4 Pan right. Reference +4dBu.
2) 1kHz @ +14dBu, 20Hz–20kHz.
3) 1kHz relative to 0dBu, 20Hz–20kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity.
4) Any input to any output.
 PHANTOM POWER TAPE OUT L

ALT L
INSERT

ALT R
SOLO
LOGIC

MAIN L
MAIN R
GAIN PAN MAIN / ALT LINE OUT L
TRIM
2 LO MID HI

AUX SEND 1 PRE

AUX SEND 2 POST
AUX SEND 1 POST
1 2
MIC IN 75Hz 80 2K5 12K BAL OUT L
HPF LO CUT
3 3 1

MONO CHANNEL 3-BAND EQ MAIN MIX MAIN

LINE IN (1 OF 4) LEVEL 30dB PAD

2
AUX
SENDS BAL OUT R
3 1

SOLO (PFL) LINE OUT R

3-BAND EQ ALT MIX
LO MID HI
MAIN / ALT
LINE IN L ALT OUT L TAPE OUT R
80 2K5 12K

ALT OUT R 28
STEREO CHANNEL PAN 10
(1 OF 4) GAIN 7
4
METERING 2
(0dBu = 0VU) 0
LO MID HI 2
LINE IN R ALT SOURCE 4
80 2K5 12K AUX 2 7
10
TAPE IN 20
+6dB 30
L RUDE SOLO LED
TAPE
AUX 1 R
CONTROL ROOM & CONTROL ROOM &
PHONES MIX PHONES LEVEL
SOLO (PFL)
MAIN

L IN
(MONO)
SOLO
RELAY
AUX RETURN 1 GAIN
SOLO MIX

R IN
ASSIGN TO MAIN

L IN PHONES OUT
LEFT
AUX 1
AUX RETURN 2 GAIN PRE / POST

AUX 1 LEVEL RIGHT

R IN AUX MIX
AUX SEND 1 CONTROL ROOM OUT

EFX TO MONITOR AUX SEND 2

 Architect’ and Engineer’s Specifications
1. GENERAL CONFIGURATION. The mixer shall TRS phone jacks, delivering nominal levels from
accommodate 4 microphone signals: mono chan- –10dBV to +4dBu; 1 stereo pair of Control Room out-
nels 1–4; 12 line signals: mono channels 1–4 and puts using bal/unbal 1/4" TRS phone jacks, deliver-
stereo channels 5–12; 2 stereo pairs of Aux Return ing nominal levels from –10dBV to +4dBu; 2 Aux
inputs; 4 Send/Return channel Inserts; 2 stereo Send outputs using bal/unbal 1/4" TRS phone jacks,
pairs of Main Mix outputs; 1 stereo pair of RCA-type delivering nominal levels from –10dBV to +4dBu;
Tape Inputs; 1 stereo pair of RCA-type Tape Out- and 1 stereo Headphones output using an unbal-
puts; 1 stereo pair of Control Room outputs; 1 anced 1/4" TRS phone jack (tip=left, ring=right,
stereo pair of Alt 3-4 outputs; 2 Aux Send outputs; sleeve=ground).
and 1 stereo headphone output. The mixer shall be 4. MIXER INPUT SECTION. Each channel shall include
capable of placement on a table or installation in 1 rotary Trim control; 1 Low Cut filter (HPF), providing
a standard 19-inch rack mount (using optional rack an 18dB per octave curve starting at 75Hz; 2 rotary
rail brackets) and shall be entirely self-contained. Aux Send controls, providing up to 15dB above unity
2. MIXER INPUTS. gain; 3 rotary equalization (EQ) controls: +15dB @
MONO CHANNELS 1–4: The mixer shall include 4 12kHz shelving, +12dB @ 2.5kHz peaking and +15dB
XDR electronically balanced mic inputs, using XLR- @ 80kHz shelving; 1 rotary Pan control, 4dB attenu-
3-F-type connectors, accepting nominal levels from ation panned center; 1 Mute/Alt 3-4 switch, to be
–60dBu to +4dBu via 4 rotary Trim controls. 48V used as a channel mute or to route the signal to the
phantom power shall be available via a globally-con- alternate stereo bus (Alt 3-4); 1 PFL (Pre-Fader Listen
trolled rocker-type switch. 4 balanced or unbalanced solo) switch; and 1 rotary channel Gain control, provid-
line inputs shall be wired in parallel, using 1/4" TRS ing up to 20dB above unity gain. Note: The stereo chan-
phone jacks, accepting nominal levels from –45dBu nels (5/6, 7/8, 9/10 and 11/12) shall not include the
to +4dBu. The mixer shall include 4 channel Inserts Trim or Low Cut controls.
using 1/4" TRS phone jacks (tip=send, ring=return, 5. MIXER OUTPUT SECTION. The mixer shall have 1
sleeve=ground), delivering and accepting nominal rotary Main Mix control, providing up to 10dB above
levels from –10dBV to +4dBu. unity gain; 1 rotary Control Room/Phones control,
STEREO CHANNELS 5/6, 7/8, 9/10 and 11/12: The providing up to 10dB above unity gain; 1 Source
mixer shall include 8 bal/unbal line inputs, forming 4 Matrix including 3 switches to deliver any combina-
stereo input pairs, using 1/4" TRS phone jacks and tion of stereo signals to the Control Room, Phones
accepting nominal levels from –10dBV to +4dBu. and Meters, including Main Mix, Alt 3-4 and Tape,
OTHER INPUTS: The mixer shall include 4 bal/unbal which shall be replaced by any solo signals resulting
Aux Return inputs, forming two stereo pairs, using from the engagement of any channel’s PFL switch;
1/4" TRS phone jacks and accepting nominal levels 1 Assign to Main Mix switch to deliver the Source
from –10dBV to +4dBu. The mixer shall include 1 Matrix signals to the Main Mix; 2 rotary Aux Return
stereo pair of Tape In jacks, using unbalanced RCA- level controls, providing up to 20dB above unity
type phono jacks, accepting nominal levels from gain; 1 rotary Aux Send 1 Master control, providing
–20dBV to +4dBu. up to 10dB above unity gain; 1 Aux Send 1 global
3. MIXER OUTPUTS. Pre/Post switch; 1 EFX to Monitor switch, allowing
MAIN OUTPUTS: The mixer’s Main Output stereo Aux Return 1 signals to be delivered to Aux Send 1
pairs shall be fitted in three ways: Using balanced via the Aux Return 2 level control; and 1 blinking red
XLR-3-M-type connectors, maximum output of Solo LED, to indicate a solo condition.
+28dBu, including 1 Main Output Level switch to 6. METERING. The mixer shall include 1 stereo 12-segment
provide 30dB attenuation (XLR outputs only); using LED meter with points at –30, –20, –10, –7, –4, –2, 0, +2,
bal/unbal 1/4" TRS phone jacks, delivering nominal +4, +7, +10 and 28dB (clip). The source signals for the meters
levels from –10dBV to +4dBu; and using unbal- shall be the same signals selected in the Source Matrix, and
anced RCA-type phono jacks (labeled TAPE OUT) a solo condition shall replace the Source selection with the
delivering nominal levels from –10dBV to +4dBu. soloed channel(s). The meters shall be calibrated so that a
OTHER OUTPUTS: The mixer shall include 1 0dBu signal at the Control Room output shall be indicated
stereo pair of Alt 3-4 outputs using bal/unbal 1/4" as 0dB on the meters, ±1dB.
 7. PHYSICAL CONFIGURATION. The mixer shall be
made of steel, painted dark gray with light gray graph-
ics. The mixer’s dimensions shall be 2.6" (66mm) in
height, 11.8" (300mm) in width and 11.2" (284mm) in
depth, as viewed horizontally. The mixer shall weigh 6
lbs, 8 oz (14.3 kg). Optional RM1202-VLZ rack-mount
brackets shall allow the mixer to be mounted in a rack
system, with either the chassis top or the control knobs’
tops to be flush with the rack rail.
8. SPECIFICATIONS. In addition to specifications
already cited, the mixer shall meet or exceed
the following specifications: Frequency response:
microphone input to any output, 20Hz to 60kHz,
+0dB/–1dB; Total Harmonic Distortion (THD): 1Khz
@ +14dBu, 0.0007%; Equivalent Input Noise (EIN):
microphone input to insert send, –129.5dBm:
Common Mode Rejection (CMR): microphone input to
insert send, maximum gain, 1kHz, better than 90dB;
FILES FOR DOWNLOADING
Typical Main Output noise: all channels assigned,
channels 1 and 3 panned left, channels 2 and 4 1202VLZP.PDF this specification sheet
panned right, main mix @ unity, channel gain @ 1202AE.TXT text version of Architect’s and
Engineer’s Specifications for insertion into proposals
unity, –86dBu; Signal to Noise ratio: ref +4dBu oper-
ating level, 90dB; Attenuation: ref. 0dB @ 1kHz,
Main Mix level control down, –85dBu; channel
Mute engaged, –84dBu; channel Gain control down,
–83dBu; Input impedance: microphones input,
1.3kΩ; channel Insert return, 2.5kΩ; all other inputs,
greater than 10kΩ; Output impedance: Tape Out,
1.1kΩ; all other outputs, 120Ω.
The mixer shall be a Mackie 1202-VLZ PRO.

LOUD Technologies continually engages in research related to product improvement. New

material, production methods, and design refinements are introduced into existing products
without notice as a routine expression of that philosophy. For this reason, any current LOUD
Technologies product may differ in some respect from its published description, but will
always equal or exceed the original design specifications unless otherwise stated. ©1999-
www.mackie.com 2004 LOUD Technologies Inc. All rights reserved.
16220 Wood-Red Road NE, Woodinville, WA 98072 USA Part No. 091-294-00 Rev. B
800.898.3211, fax 425.487.4337, [email protected]
UK +44.1268.570.808, fax +44.1268.570.809, [email protected]