These various pieces of equipment are expected to be used during our hands on workshops on Wednesday. Some of these systems may be found in some of our public schools. Some are simply representations of what might be found, or would be very simelar. 

All sound equipment has the same basic purpose: to get sound from one place to another.

E-System 10
A complete, compact sound reinforcement system so good that no one company could build it all. The JBL EON10-G2 weighs in at only 10.4 kg (23 lbs) but proves that you don’t need size and weight to get quality. With 175 watts of bi-amplified power (125 watts for low frequencies and 50 watts for high frequencies) the E
ON10-G2 is the choice for moderate level performance.

Add  a Soundcraft E-6 mixer with that great British sound and features:

  • 6 mono input channels plus two stereo inputs
  • 2 aux sends, each globally switchable pre or post fader
  • 100mm faders
  • Internal power supply
  • Simple rack mounting options
  • 3 band EQ with swept mid band
  • Precision, ultra-linear mic pre-amps
  • True, professional +48V phantom power
  • Individual channel mutes

To complete the system, a pair of AKG D2000S microphones are included. These handheld, dynamic, hypercardiod microphones are at home in a variety of sound reinforcement applications for speech, vocals and instruments. Rounding out the system are four 25″ XLR cables to hook it all together.

Small Mackie Mixer

In spite of it’s small size, the Mackie 1202-VLZ Pro is big on features. It’s the ideal compact mixer for home and project studios seeking superior performance in an economical, small-footprint package. A boatload of professional features—along with solid-steel construction—makes the 1202-VLZ Pro equally at home on the road, on the stage, or in the studio.

Here at Mackie, we take our compact mixers very seriously, and are proud of the innovation we’ve brought to the market place. Mackie mixer preamps are so quiet and clean, many in the industry have tried to copy them—and with performance specs like ours (under 0.0007% THD from 20Hz-20kHz), who can blame them? Our highly musical EQ gives you complete control over tonality and harmonic content. And our ingenious ALT 3-4 Mix Bus effectively turns this little workhorse into a 4-bus dynamo. Leave it to the innovative minds at Mackie to produce the 1202-VLZ Pro, the best-sounding mixer in its class, for more than ten years running.

The VLZ Pro Series features our XDR (Extended Dynamic Range) mic preamps, which are ultra-quiet and tremendous headroom. That means the four XDR mic preamps in the 1202-VLZ Pro can handle inputs from a whisper all the way up to a scream, without any added coloration. Preamps this good aren’t usually found on mixers in this price range; they often only appear on consoles costing thousands of dollars more. Read more.


High-quality equalization is a must for any good mixer. That’s why we didn’t cut any corners when it came to our 3-band Active EQs—and why we include them on every channel. We invested tremendous resources determining the optimum center points of the VLZ Pro’s EQ and placed the Lows at 80Hz, Mids at 2.5kHz and Highs at 12kHz. This gives our VLZ Pro mixers practical, useful equalization providing not only sonic enhancement and correction, but the tone-shaping facility to actually improve the musical nature of the original signal.

Don’t let the compact size fool you. The Mackie 1202-VLZ Pro mixer is packed with premium features on every mic channel: 75Hz Low-Cut filters, two Aux Sends, inserts, phantom power, constant-loudness Pan controls and Pre Fader Solo. You can never have too many output options, so we also provided a Control Room/Phones source matrix, a Master Aux section with EFX to Monitor, tape outputs, a high-volume headphone amplifier and balanced XLR and TRS outputs.

When it’s a Mackie 1202-VLZ Pro with our exclusive ALT 3-4 stereo bus! Greg Mackie’s mind was working overtime when he came up with this—instead of sending muted signals into the vacuum of space, why not do something useful with them? So, when you press the mute button on the 1202-VLZ, the signal is indeed muted—but it also appears at the ALT 3-4 output jacks and ALT 3-4 stereo bus. This is an ideal way to create additional Aux Sends and mixes for cry rooms, green rooms, or assistive listening, etc. And with a press of a button, the ALT 3-4 mix can be assigned to the Main output—which means ALT 3-4 can act very much like a ‘mixer within a mixer.’

All VLZ Pro mixers are built tough. Our legendary solid-steel chassis can take the kind of abuse that would make our competitor’s flimsy boxes run home to mama. And instead of using cheap, unsealed potentiometers, we use co-molded pots offering substantial strain and impact relief at all critical mechanical contact points. By design, our control knobs ‘ride’ just above the surface of the chassis, so if something falls onto the mixer, the impact is transferred from the knobs to the steel chassis—not to the potentiometers or circuit board. Finally, to eliminate potential damage to the circuit board, we use a thick, horizontally mounted fiberglass PC board, braced with a shock-absorbing support structure.

You’ll find Mackie VLZ Pro compact mixers everywhere you go—from video post-production facilities, to major artist tour buses, to duty as field mixers for news departments of all the major networks. Put simply, VLZ Pros are the top choice of professional sportscasters the world over. Drummers and keyboardists use them to send submixes to front of house and monitor consoles. VLZ Pro compact mixers are the ideal choice for any situation requiring superior audio mixing, especially where space and/or budget constraints are an issue.

Verified by MonsterInsights