MACKIE 802 VLZ3 PDF

Mackie & VLZ3 While large consoles may attract all the longing glances, the reality is that many studios now can do without them, but there remains a. Find great deals for Mackie Vlz3 8 Channel Compact Audio Mixer. Shop with confidence on eBay!. Most people need mic preamps – the Mackie VLZ3 has three. Most people don’t need more than six channels, this has eight. Most people want excellent.

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E-MU’s last product entry for the PC audio-interface market was five years ago.

I don’t know why they stayed away so long, but they’ve returned with a line of well- integrated, all-in-one desktop It was adapted by me to MPT is a plug-in bundle that vzl3 The Dangerous Master has taken my mastering console up quite a notch. Integrating it with the Dangerous Monitor Tape Op 34 has truly given me the processing and routing capabilities I’ve always Seasoned readers of Tape Op will recall that I purchased one of the first Maxkie DMX-R mixers four years ago and felt that it was the first digital console I’d used that didn’t compromise “the Ah, upgrading, what fun!

Mackie VLZ3 Series VLZ3 – analog mixer – 8-channel Overview – CNET

I’m paying for a product I already own, fixing something that isn’t broken, and spending my time installing, authorizing, and configuring software when I should be making I showed the studio design to producer Jason Carmer, and he insisted that Large-format recording consoles; there just aren’t as many of them being made these days compared to decades past. A portion of the industry has moved towards totally mixing in the box and tracking Are you tired of patching and re-patching your various sets of monitors?

Vintage King co-founder Michael Nehra shares some of his love, knowledge, and practical advice for diving into the world of vintage audio gear, and then takes us behind the scenes for a walk through Jim Williams has spent much of his 56 years working with some of the biggest names in the music business, including Frank Zappa, John McLaughlin and Stevie Wonder.

He’s the owner of Audio Upgrades, Bill Cheney and Jim Romney are the men responsible for keeping the amazing legacy of Spectra Sonics, a legendary, if criminally unheralded, pro-audio company alive.

Their mic preamps, summing amps, and control room From professional multi-room facilities to bedroom computer rigs, the compact utility mixer is ubiquitous.

Whether it’s being used for its mic 80 and zero-latency monitoring facilities in front of vl3z DAW, or it’s submixing a bunch of outboard effects returning to a full-size console, or it’s simply operating as a volume knob for a small collection of gear, there’s a reason why “utility” is part of the category’s name. I’m not sure if Mackie invented the category, but they certainly popularized it when they released the first affordable, mass-produced line of decent-sounding mini mixers almost two decades ago.

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These days, there’s a whole bevy of manufacturers selling similar products. The VLZ3 line is the latest iteration of the compact utility mixer from Mackie. A couple months ago, I set up my filmmaker wife with a VLZ3 so that she could watch and listen to multiple sources computer, DV deck, camera without having to bring up Final Cut Pro in capture-preview mode. With the multiple displays and devices on her desk and the need to reserve space for other devices as-needed, the ‘s extremely compact form-factor and easily understood layout were major reasons why I chose it; void of any extraneous plastic trim, its footprint is 6″ x 7″, and all the jacks and controls are positioned smartly.

The ‘s capabilities are also perfect for mackke needs. As you can guess from the name, the has four input channels and a stereo main bus. Low and high-shelf EQ are included for these two channels.

The shelves have no overlap, but if you cut both of them, you get a smooth midrange peak at 1 kHz, and if you boost both of them, you get a smooth dip at 1 kHz. A low-cut filter Hz, 18 dB per octave allows you to peak the lows by boosting with the low shelf while simultaneously cutting the extreme lows with the filter-a great way to add oomph to a sound while avoiding uncontrolled low-end buildup. The main bus also feeds the headphone output through a dedicated headphone volume knob. All very straightforward-and as you’d expect.

The nice surprise here is the “tape” facility which these days would make more sense being called “recorder”. Recalling that the only has a stereo bus and the tape send mirrors the main out, you can feed the tape send to your DAW, and then bring the DAW’s output back into the ‘s tape return. The tape return has its own level knob and always feeds the headphones but is normally not added to the main out.

This way, you can record to your DAW through the while listening on headphones with zero latency to what you’re currently recording mixed together with a feed from the DAW. Zero-latency monitoring couldn’t get any simpler. You can also choose to assign the tape return to the stereo bus, but watch out for feedback if your recorder is in input-monitoring mode. Unfortunately, if you choose to use the ‘s main outs to feed your speakers which seems the most logical way to do itchanging your speaker level by turning the main level knob also affects the tape send.

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I wish there were an independent tape send level or a separate speaker level. Please support them and tell them you saw their ad in Tape Op. The is a bit larger in footprint 9″ x 11″and along with more input channels eight as hinted in the nameit has additional features. All channels have three-band EQ, with the same shelves and low-cut as thebut with the addition of a fixed-Q midrange centered at 2.

Personally, I would have preferred a midrange control for the muddy region of Hz, but having control around 2. Plus, you can effectively control 1 kHz by boosting or cutting both shelves together. With 15 dB of boost or cut, you can still go overboard if you desire. Three of the channels can take mic-level signals via XLR, and the first two can take instrument-level and have insert points as well. All channels are capable of taking line-level via TRS. Some of the channel strips are mono while others are stereo with two inputs each.

Check out the Mackie website for the actual configuration. Each of the buses and the tape return has its own level knob. Moreover, there’s a pre-fader solo function for all input channels. All these additional features allow the bigger which is still a tiny mixer-to be used for more complex recording and mixing tasks as well as for live sound.

All user reviews for the Mackie 802-VLZ3

The XDR2 mic makie on both mixers are clean sounding and quiet. I had no problems with any of my mics, from my cheap Radio Shack electret condenser to my many modern ribbon mics.

Compared to the unbalanced playback inputs on my Soundcraft Compact 4 Tape Op 44the Mackie’s tape returns exhibited a lower signal-to-noise ratio due to noticeably higher levels of EMI when fed my desktop’s soundcard output using the same cables with the mixers in the exact same positionbut noise wasn’t a problem when I patched an M-Audio FireWire Solo into the tape returns instead.

The manuals for both models are comprehensive, and they include voz3 connection diagrams and walkthroughs.

Even an absolute beginner will have no problem setting up the mixer, and the seasoned pro will discover how flexible these mini mixers really are.

In all, I am quite impressed with the two smallest members of the VLZ3 mixer family, and given how usable and flexible they are, it’s clear that Mackie really spent the time to design these compact mixers with utility in mind.

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