Mackie 1402-VLZ3 Owner`s manual

Mackie 1402-VLZ3 Owner`s manual
1402-VLZ3
14-Channel Mic/Line Mixer
OWNER’S MANUAL
MIC 1
MIC 2
MIC PRE
XDR
MIC 4
MIC 3
MIC PRE
XDR
MIC PRE
XDR
MIC 5
MIC PRE
XDR
MIC 6
MIC PRE
XDR
LEFT/MONO
RIGHT
ALL BAL/UNBAL
1
MIC PRE
XDR
2
BAL
OR
UNBAL
LINE IN 1
BAL
OR
UNBAL
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
U
OO
AUX
U
OO
+15
U
OO
EQ
+15
U
-15
+15
U
-15
-15
-15
+15
-15
-15
-15
AUX
U
OO
OO
EQ
-15
+15
U
-15
-15
-15
-15
R
MAIN OUT
-15
MONO
L
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
R
R
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 9-10
AUX
U
OO
OO
EQ
-15
U
OO
OO
EQ
-15
-15
-15
+15
U
-15
OO
EQ
-15
-15
-15
-15
+15
PAN
-15
OO
+20
RIGHT
0dB=0dBu
20
10
MAIN MIX
+15
U
7
4
ALT 3–4
2
+15
U
0
LOW
80Hz
TAPE
PAN
ASSIGN
TO MAIN MIX
2
4
+15
PAN
+20
U
LEFT
C-R/SOURCE
MID
2.5kHz
+15
U
+10
OO
EQ
HI
12kHz
+15
U
U
U
OO
+15
U
LOW
80Hz
+15
AUX
+15
U
MID
2.5kHz
+15
U
PAN
U
OO
HI
12kHz
LOW
80Hz
+15
AUX
+15
U
MID
2.5kHz
+15
U
LINE IN 13-14
+15
U
HI
12kHz
+15
U
PAN
AUX
+15
U
LOW
80Hz
+15
LINE IN 11-12
+15
U
MID
2.5kHz
-15
MONO
MONO
HI
12kHz
+15
U
PAN
R
L
+15
U
LOW
80Hz
+15
R
L
MONO
+15
U
MID
2.5kHz
+15
U
PAN
OO
EQ
+15
U
LOW
80Hz
+15
U
OO
HI
12kHz
MID
2.5kHz
-15
AUX
+15
U
L
2
LINE IN 7-8
+15
U
HI
12kHz
+15
U
PAN
GAIN
+15
U
LOW
80Hz
-15
0
60
+15dB -45dB
+15
U
MID
2.5kHz
+15
PAN
OO
EQ
+15
U
LOW
80Hz
+15
PAN
-15
+15
U
LOW
80Hz
U
OO
HI
12kHz
MID
2.5kHz
+15
U
AUX
+15
U
+15
U
MID
2.5kHz
+15
U
OO
EQ
-10dBV
C GAIN
MI
U
GAIN
+15
U
HI
12kHz
+15
U
LOW
80Hz
-15
OO
EQ
U
OO
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
GAIN
AUX
LINE IN 6
-10dBV
C GAIN
MI
U
BAL/UNBAL
L
AUX SEND
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
+15
U
HI
12kHz
MID
2.5kHz
-15
U
OO
+15
U
HI
12kHz
-15
AUX
LINE IN 5
-10dBV
C GAIN
MI
U
GAIN
+15
U
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
GAIN
+15
U
LINE IN 4
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
GAIN
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
OO
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
BAL
OR
UNBAL
TAPE
TAPE
INPUT OUTPUT
1
7
10
20
L R
L R
1
dB
10
L R
2
MUTE
dB
10
dB
10
dB
10
6
MUTE
ALT 3–4
SOLO
L R
5
MUTE
ALT 3–4
SOLO
L R
4
MUTE
ALT 3–4
SOLO
L R
3
MUTE
ALT 3–4
MUTE
ALT 3–4
SOLO
dB
10
SOLO
dB
10
L R
L R
L R
L R
7-8
9-10
11-12
13-14
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
MUTE
ALT 3–4
SOLO
dB
10
MUTE
SOLO
dB
10
dB
10
SOLO
MODE
MUTE
MUTE
SOLO
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
dB
10
48V
SOLO
RUDE
SOLO
LIGHT
POWER
CTL ROOM /SUBMIX
dB
10
30
dB
10
5
5
5
5
5
5
5
5
5
5
5
5
U
U
U
U
U
U
U
U
U
U
U
U
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
MAIN MIX
LEVEL
SET
1402-VLZ3
Important Safety Instructions
1. Read these instructions. 2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10.Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
11.Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
12.Only use attachments/accessories specified by the manufacturer.
PORTABLE CART
13.Use only with a cart, stand, tripod, bracket, or
WARNING
table specified by the manufacturer, or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
14.Unplug this apparatus during lightning storms or
when unused for long periods of time.
15.Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
16.This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
17.This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).
18.This apparatus has been equipped with a rocker-style AC mains power
switch. This switch is located on the rear panel and should remain
readily accessible to the user.
19.The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
CAUTION
AVIS
RISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the
user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil.
20.NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment off and
on, the user is encouraged to try to correct the interference by one or
more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the
receiver.
• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for
help.
CAUTION: Changes or modifications to this device not expressly
approved by LOUD Technologies Inc. could void the user's authority to
operate the equipment under FCC rules.
21.This apparatus does not exceed the Class A/Class B (whichever is
applicable) limits for radio noise emissions from digital apparatus as
set out in the radio interference regulations of the Canadian Department
of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils
numériques de class A/de class B (selon le cas) prescrites dans le
réglement sur le brouillage radioélectrique édicté par les ministere des
communications du Canada.
22.Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all
persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation.
Ear plugs or protectors in the ear canals or over the ears must be worn
when operating the equipment in order to prevent permanent hearing
loss if exposure is in excess of the limits set forth here:
Duration,
per day in
hours
8
6
4
3
2
1.5
1
Sound Level
dBA, Slow
Response
90
92
95
97
100
102
105
0.5
110
0.25 or less 115
Typical Example
Duo in small club
Subway Train
Very loud classical music
Dave screaming at Steve about
deadlines
Loudest parts at a rock concert
WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product
should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and
human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural
resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city office, waste authority, or your household waste disposal service.
1402-VLZ3
We realize that you must be wanting to
try out your new 1402-VLZ3. All we ask
is that you read this page NOW, and the
rest later — you’ll be glad you did.
WARNING: Before you plug the AC power
cord into the mixer, make sure the VOLTAGE
SELECTOR switch is set to the same voltage
as your local AC mains supply (see page 12).
Level-Setting Procedure
Message to seasoned pros: do not set levels using the
old “Turn the GAIN up until the clip light comes on,
then back off a hair” trick. When a Mackie mixer clip
light comes on, you really are about to clip. We worked
and slaved to come up with a better system, one that
provides low noise and high headroom.
Adjusting input levels (Chs. 1–6 only)
Other Nuggets of Wisdom
For optimum sonic performance, the channel faders
and MAIN MIX faders should be set near the “U” (unity
gain) markings.
Always turn the MAIN MIX and CONTROL ROOM/
SUBMIX faders down before making connections to and
from your 1402-VLZ3.
If you shut down your equipment, turn off your amplifier first. When powering up, turn on your amplifier last.
Save the shipping box! You may need it someday.
Instant Mixing
Here’s how to get going right away, assuming you have
a microphone and a keyboard:
1. Plug your microphone into channel 1’s MIC
input.
2. Turn on the 1402-VLZ3.
3. Perform the Level-Setting Procedure.
On the first six channels, it’s not even necessary to
hear what you’re ­doing to set ­optimal levels. But if you’d
like to: Plug headphones into the PHONES jack, then
move the CONTROL ROOM/SUBMIX fader up a little.
4. Connect cords from the MAIN OUTS (XLR, 1⁄4"
or RCA, your choice) to your amplifier.
The following steps must be performed one channel at
a time:
6. Turn up the 1402-VLZ3’s channel 1 fader to the
U mark, and the MAIN MIX fader one quarter of
the way up.
1. Turn the GAIN, AUX SEND knobs and FADERS
fully down.
5. Hook up speakers to the amp and turn it on.
7. Sing like a canary!
2. Set the EQ knobs at the center detent.
8. Plug your keyboard into stereo channel 7-8.
3. Connect the signal source to the input.
9. Turn that channel’s fader to the U mark.
4. Engage (push in) the channel's SOLO switch.
10. Play like a madman and sing like a canary!
It’s your first mix!
5. Engage the AFL/PFL switch in the master section. A green LEVEL SET light will turn on.
6. Play something into the selected input. This
could be an instrument, a singing or speaking
voice, or a line input such as a CD player or
tape recorder output. Be sure that the volume
of the input is the same as it would be during
normal use. If it isn’t, you may have to readjust
these levels during the middle of the set.
7. Adjust the channel’s GAIN control so that the
display on the LED meters stays around “0” and
never goes higher than “+7.”
Owner’s Manual
Read This Page!
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
Purchased at:
8. If you apply some EQ, repeat step 7.
9. Disengage that channel’s SOLO switch.
10. Repeat for channels 1 through 6.
Date of purchase:
Part No. SW0544 Rev. C 01/09
©2006-2009 LOUD Technologies Inc. All Rights Reserved.
Owner’s Manual
1402-VLZ3
Introduction
Thank you for choosing a Mackie professional compact mixer. The 1402-VLZ3 is equipped with our precision-engineered XDRTM Extended Dynamic Range
premium studio-grade mic preamp.
This icon marks infor­mation that is critically
­important or unique to the 1402-VLZ3. For your
own good, read them and remember them. They
will be on the final test.
Now that you have your 1402-VLZ3, find out how to get
the most from it. That’s where this manual comes in.
This icon will lead you to ­­­in-depth explanations of ­features and practical tips. While not
mandatory, they usually have some valuable
nuggets of information.
How To Use This Manual
Since many of you folks will want to hook up your
1402-VLZ3 immediately, the first pages you will encounter after the table of contents are the ever-popular
hookup diagrams. These show typical mixer setups for
Recording and Stereo PA.
After this ­section is a ­detailed tour of the entire mixer.
Every feature of the 1402-VLZ3 is ­described “geographically;” in other words, in ­order of where it is physically
placed on the mixer’s top or rear panel. These descriptions are divided into the first three sections, just as
your mixer is ­organized into three distinct zones:
Appendix A is a section on troubleshooting and repair
information.
Appendix B is a section on connectors: XLR connectors, TRS balanced connectors, TS unbalanced connectors, and Insert connectors.
Appendix C shows the technical specifications, and
a block diagram showing the internal signal path and
general goings-on within the mixer.
Appendix D was removed after it became bloated and
painful.
Patchbay: The patchbay along the top and back,
where you connect things.
Channel Strip: The eight channel strips on the left
where you adjust each channel.
Output Section: The ­output section on the right.
Throughout these sections you’ll find illustrations,
with each feature numbered. If you’re curious about a
feature, simply locate it on the ­appropriate illustration,
notice the number ­attached to it, and find that number
in the nearby paragraphs.
Need help with your new mixer?
• Visit www.mackie.com and click Support to find:
FAQs (Frequently Asked Questions), manuals, and addendums.
• Email us at: [email protected]
• Telephone 1-800-898-3211 to speak with one of our splendid
technical support representatives, (Monday through Friday,
normal business hours, PST).
1402-VLZ3
IMPORTANT SAFETY INSTRUCTIONS......................... 2
INTRODUCTION....................................................... 4
HOOKUP DIAGRAMS............................................... 6
PATCHBAY DESCRIPTION.......................................... 8
1. MIC INPUTS (CHANNELS 1–6).................... 8
PHANTOM POWER.................................... 8
2. LINE INPUTS (CHANNELS 1–6)................... 8
3. LOW CUT (CHANNELS 1–6)........................ 9
4. GAIN (CHANNELS 1–6) . ........................... 9
5. STEREO LINE INPUTS................................. 9
6. +4/–10 LEVEL (STEREO CHANNELS ONLY) 9
EFFECTS: SERIAL OR PARALLEL?................. 9
7. STEREO RETURNS.................................... 10
8. AUX SEND 1&2....................................... 10
9. TAPE INPUT............................................ 10
10. TAPE OUTPUT......................................... 10
11. 1⁄4" MAIN OUTS...................................... 10
12. PHONES................................................. 11
OUTPUT SECTION................................................... 16
32. MAIN MIX FADERS.................................... 16
33. CONTROL ROOM SOURCE MATRIX............. 16
34. CONTROL ROOM/SUBMIX........................ 16
35. SOLO MODE (AFL/PFL) .......................... 17
36. RUDE SOLO LIGHT................................... 17
37. ASSIGN TO MAIN MIX............................. 17
38. METERS – MANY DISPLAYS IN ONE!........ 17
A WORD ABOUT AUX.............................. 18
39. PRE/POST (AUX 1) ................................ 18
40. AUX 1 MASTER....................................... 18
41. STEREO RETURNS.................................... 18
42. RETURN TO AUX 1.................................. 19
JACK NORMALLING................................. 19
APPENDIX A: SERVICE INFORMATION..................... 20
APPENDIX B: CONNECTIONS.................................. 21
APPENDIX C: TECHNICAL INFORMATION................. 24
SPECIFICATIONS.............................................. 24
13. XLR MAIN OUTS .................................... 11
14. XLR MAIN OUTPUT LEVEL SWITCH........... 11
15. CONTROL ROOM..................................... 11
16. ALT 3–4 OUTPUT.................................... 11
17. CHANNEL INSERT (CHANNELS 1–6 )......... 11
18. POWER CONNECTION.............................. 12
19. FUSE....................................................... 12
20. VOLTAGE SELECTOR................................. 12
21. POWER SWITCH...................................... 12
22. PHANTOM SWITCH................................. 12
CHANNEL STRIP DESCRIPTION................................ 13
“U” LIKE UNITY GAIN............................. 13
23. CHANNEL FADER...................................... 13
24. SOLO...................................................... 13
25. MUTE/ALT 3–4....................................... 13
26. PAN......................................................... 14
CONSTANT LOUDNESS ! ! !....................... 14
3-BAND EQ............................................. 14
27. LOW EQ.................................................. 14
28. MID EQ................................................... 14
29. HI EQ...................................................... 15
MODERATION DURING EQ....................... 15
31. AUX 1 AND 30. AUX 2 SEND.................... 15
BLOCK DIAGRAM............................................. 25
TRACK SHEET.................................................. 26
1402-VLZ3 LIMITED WARRANTY............................ 27
Owner’s Manual
Owner’s Manual
Contents
2
2
3
3
4
4
5
5
L
MONO
10 R
L
11 MONO
12 R
L
13 MONO
14 R
In
(record)
IN-TAPE-OUT PHONES CNTRL ROOM
OUT
OUTPUTS
Out
(play)
L
R
L
R
STEREO RETURNS
9
4
In
Out Stereo Compressor
In
Out
5
1
2
AUX
SEND
Drum
Machine
Keyboard or other
line level input
8
L
MONO
R
In Mono Compressor
Out
3
6
CHANNEL INPUTS
7
2
6
6
Stereo Guitar Effects
1
CHANNEL INSERTS
1
ALT 3/4
OUT
Direct
Boxes
1
MAIN
OUT
Vocal Mics
L
R
Digital Delay
L
R
Multi Effect
Processor
1
2
L
R
L
R
MAIN
OUT
1402-VLZ3
HOOKUP DIAGRAMS
Headphones
for Studio
Powered
Studio Monitors
Headphone Distribution Amp
Recording System
1402-VLZ3
Powered
Studio Monitors
for Studio
1
2
2
3
3
4
4
5
5
10 R
L
11 MONO
12 R
L
13 MONO
14 R
In
(record)
IN-TAPE-OUT PHONES CNTRL ROOM
OUT
OUTPUTS
Out
(play)
L
R
L
R
STEREO RETURNS
L
MONO
1
2
L
R
L
R
AUX
SEND
9
5
1
ALT 3/4
OUT
MONO
8 R
Drum
Machine
Keyboard or other
line level input
4
L
R
MAIN
OUT
L
In
Out Stereo Compressor
In
Out
3
6
CHANNEL INPUTS
7
2
6
6
Stereo Guitar Effects
In Mono Compressor
Out
1
CHANNEL INSERTS
1
R
Multi Effect
Processor
2
Stage Monitors
Mono EQ
L
Mono Power
Amplifier
MAIN
OUT
Direct
Boxes
Owner’s Manual
Vocal Mics
Stereo
EQ
Headphones
SRM450
Powered
Speaker
This setup can be easily reconfigured to become
a Mono PA setup.
A. Stereo sources should feed the left mono
side of channel input only.
B. Pan each channel hard left.
C. Connect Mono PA system to
Left main output.
SWA1501
Powered
Subwoofer
SRM450
Powered
Speaker
SWA1501
Powered
Subwoofer
Live Stereo PA System
Owner’s Manual
1402-VLZ3
Patchbay Description
MIC 1
MIC 2
MIC PRE
XDR
MIC 4
MIC 3
MIC PRE
XDR
MIC PRE
XDR
MIC 5
MIC PRE
XDR
MIC 6
MIC PRE
XDR
2
3
4
RIGHT
ALL BAL/UNBAL
1
1
BAL
OR
UNBAL
LINE IN 1
BAL
OR
UNBAL
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
U
U
0
60
+15dB -45dB
U
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
GAIN
AUX
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
GAIN
AUX
U
OO
OO
+15
U
OO
+15
OO
U
+15
U
OO
+15
OO
U
HI
12kHz
+15
U
OO
+15
OO
U
HI
12kHz
+15
U
OO
+15
OO
U
HI
12kHz
U
+15
U
OO
+15
OO
U
HI
12kHz
+15
U
-15
+15
U
MID
2.5kHz
-15
+15
U
MID
2.5kHz
+15
U
-15
-15
-15
-15
-15
1.MIC INPUTS (Channels 1–6)
+15
U
-15
-15
+15
U
+15
U
-15
-15
+15
PAN
-15
AUX
U
OO
+15
U
OO
EQ
-15
-15
-15
+15
L R
L R
L R
L R
3
4
5
6
7-8
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
MUTE
ALT 3–4
SOLO
dB
10
5
5
5
5
5
5
5
U
U
U
U
U
U
U
5
5
5
5
5
5
10
10
10
10
10
10
20
20
20
20
20
20
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
Professional ribbon, dynamic, and condenser mics
will all sound excellent through these inputs. The
1402-VLZ3’s mic inputs will handle any kind of mic level
you can toss at them, without overloading. Be sure to
perform the Level-Setting Procedure on page 3.
Not every instrument is made to connect directly to a
mixer. Guitars commonly need a Direct Injection (DI)
box to connect to the mixer's MIC inputs. These boxes
convert unbalanced lnstrument-level signals from your
guitar, into balanced mic-level outputs, and provide
signal and impedance matching. They also let you send
your gifted guitar renditions over long cables or audio
snakes, with minimum interference and high-frequency
signal loss. Ask your dealer or guitar maker about their
recommendations for a good DI box.
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. (Semi-pro
condenser mics often have batteries to accomplish the
same thing.) “Phantom” owes its name to an ability to
1402-VLZ3
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
R
R
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 9-10
AUX
U
LINE IN 11-12
AUX
U
LINE IN 13-14
AUX
U
AUX
U
U
OO
OO
EQ
+15
U
OO
+15
U
OO
EQ
+15
U
OO
+15
U
OO
EQ
+15
U
OO
+10
+15
U
EQ
HI
12kHz
-15
HI
12kHz
+15
U
-15
+15
U
MID
2.5kHz
-15
HI
12kHz
-15
MID
2.5kHz
+15
U
-15
MID
2.5kHz
+15
U
LOW
80Hz
-15
ALT 3–4
+15
U
LOW
80Hz
Never plug ­­single-ended (unbalanced) micro­
PAN
PAN
PAN
phones or ­instruments
intoPAN
the MIC input
jacks if the ­PHANTOM power is on.
-15
+15
-15
+15
-15
+15
L R
L R
L R
9-10
11-12
13-14
ALT 3–4
ALT 3–4
ALT 3–4
MUTE
MUTE
MUTE
OO
+20
RIGHT
20
10
7
4
2
0
2
TAPE
LOW
80Hz
+20
U
0dB=0dBu
MAIN MIX
+15
U
OO
LEFT
C-R/SOURCE
ASSIGN
TO MAIN MIX
PAN
dB
10
BAL
OR
UNBAL
LOW
80Hz
L R
dB
10
L
BAL
OR
UNBAL
+15
U
2
dB
10
L
MID
2.5kHz
L R
dB
10
L
+15
U
1
dB
10
MONO
L
HI
12kHz
L R
dB
10
MAIN OUT
The 1402-VLZ3’s phantom power is globally ­controlled
by the PHANTOM switch on the rear panel. (This means
the phantom power for channels 1-6 is turned on and off
together.)
+15
We use phantom-powered,
balanced ­microphone
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
inputs just like the big studio mega-consoles, for ­exactly
SOLO
SOLO
SOLO
SOLO
the same reason:
This kind
of circuit
is­ ­excellent
atSOLO
rejecting hum and noise. You can plug in almost any kind
of mic that has a standard ­XLR male mic connector.
R
MONO
+15
U
LOW
80Hz
PAN
R
MONO
+15
U
MID
2.5kHz
LOW
80Hz
+15
PAN
-15
R
L
be “unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need ­external power and aren’t
affected by it anyway.
HI
12kHz
MID
2.5kHz
LOW
80Hz
+15
PAN
-15
+15
U
LOW
80Hz
+15
PAN
+15
U
L
2
LINE IN 7-8
+15
HI
12kHz
MID
2.5kHz
+15
U
LOW
80Hz
+15
-15
MID
2.5kHz
+15
U
LOW
80Hz
-15
-15
+15
U
U
See Appendix B for further details and drawings of
the connectors you can use with the 1402-VLZ3. Also see
the Channel Strip description on page 13 for details of
the signal routing from the XLR and Line inputs.
-15
6
GAIN
AUX
L
MONO
5
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
BAL/UNBAL
AUX SEND
BAL
OR
UNBAL
LINE IN 5
-10dBV
C GAIN
MI
U
GAIN
AUX
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
GAIN
AUX
LINE IN 4
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
GAIN
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
U
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
BAL
OR
UNBAL
TAPE
TAPE
INPUT OUTPUT
1
2
At the risk of stating the obvious, this is where you
plug everything in: microphones, line-level ­instruments
and effects, headphones, and the ­ultimate destination
for your sound: aEQtape ­recorder,
PAEQsystem, EQ
etc.
EQ
EQ
LEFT/MONO
MIC PRE
XDR
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
MODE
4
7
10
20
30
RUDE
SOLO
LIGHT
Do not plug instrument outputs into/SUBMIX
the MIC MAIN MIX
input
jacks
with
PHANTOM
power
on ­unless
SOLO
SOLO
SOLO
SOLO
you know for certain it is safe to do so.
dB
10
dB
10
dB
10
48V
POWER
CTL ROOM
dB
10
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
5
10
10
10
10
10
10
2.LINE INPUTS (Channels 1–6)
These six 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 –40 dB to
operating levels of –10 dBV to +4 dBu, since there is 40
dB more gain available than on channels 7–14.
20
20
20
20
20
20
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
To connect balanced lines to these inputs, use a 1⁄4"
Tip-Ring-Sleeve (TRS) plug, the type found on­­ ­stereo
headphones.
To connect unbalanced lines to these ­inputs, use a
1⁄4" mono (TS) phone plug or standard ­instrument
cable.
LINE IN inputs 1–6 are a good place to connect older
instruments that need more gain. You can correct weak
levels by adjusting the ­corresponding channel’s GAIN
control.
LEVEL
SET
Each LOW CUT switch, often referred to as a High
Pass Filter (all depends on how you look at it), cuts bass
frequencies below 75 Hz at a rate of 18 dB per octave.
We recommend that you use LOW CUT on ­every
microphone application except kick drum, bass guitar,
or bassy synth patches. These aside, there isn’t much
down there that you want to hear, and filtering it out
makes the low stuff you do want much more crisp and
tasty. Not only that, but LOW CUT can help reduce the
possibility of feedback in live situations and it helps to
conserve the amplifier power.
Another way to consider LOW CUT’s function is that it
actually adds flexibility during live performances. With
the ­addition of LOW CUT, you can safely use LOW equalization on vocals. Many times, bass shelving EQ can
really benefit voices. Trouble is, adding LOW EQ also
boosts stage rumble, mic handling clunks and breath
pops. LOW CUT ­removes all those problems so you can
add low EQ without losing a woofer.
Here’s what the combination of LOW EQ and LOW
CUT looks like in terms of ­frequency curves:
+15
+15
+10
+10
MIC 1
+5
MIC 2
MIC 3
+5
MIC PRE
XDR
0
MIC PRE
XDR
0 IC PR
M
E
XDR
–5
–5
–10
–10
20Hz
100Hz
1kHz
10kHz 20kHz
Low Cut
20Hz
100Hz
1kHz
4.GAIN (Channels 1–6)
If you haven’t already, please read the Level-Setting
Procedure. BAL
BAL
BAL
OR
UNBAL
UNBALof the mic and line
UNBAL
GAIN adjusts
the input sensitivity
inputs connected to channels 1 through 6. This allows
LINE
INfrom
1 the outside
LINEworld
IN 2 to be adjusted
LINEto
INoptimal
3
signals
LOW CUT
LOW CUT
LOW CUT
internal operating
levels.
75 Hz
75 Hz
75 Hz
18dB/OCT
0
60
+15dB -45dB
+15dB -45dB
OO
+15
U
OO
+15
U
This switch adjusts the input sensitivity of the line
inputs on channels 7 to 14. If the sound source is a "–10"
device, engage this switch. If you are unsure, leave the
switch up, and perform the Level Setting Procedure,
substituting this switch for the GAIN knob to find the
best position for it.
MIC 4
MIC 5
MIC 6
+15dB -45dB
OO
MIC PRE
XDR
LINE IN 4
InsertLOW CUT
Send
+15
U
LINE IN 5
75 Hz
18dB/OCT
Signal Processor
(e.g., Compressor)
U
Insert
LOW CUT
Return
+15
U
OO
EQ
HI
12kHz
+15
U
OO
EQ
Dry Signal(s)
U Aux
Send
-10dBV
C GAIN
MI
AUX
U Aux
Return
Signal Processor
(e.g., Reverb)
HI
12kHz
OO
EQ
HI
12kHz
LOW CUT
75 Hz
18dB/OCT
U
0dBV
-1Processed
Signal
AIN
CG
MI
“Parallel” means that a portion of the signal in the
Aux
Aux (AUX SEND),
Output promixer is
tapped off to the device
Insert60
Insert60
0 Send
0Return
60
Section 0
Send
Return
+15dB
-45dB
+15dB
-45dB
+15dB -45dB
cessed
and
returned
to
the
mixer
(STEREO
RETURN)
Processor
Signal
Processor GAIN
GAINwithSignal
GAIN
(e.g.,
Reverb)
Signal
toDrybeSignal
mixed
the
original “dry”Wetsignal.
This way,
(e.g.,
Compressor)
Processed
Signal
multiple channels can all make use of the same effects
Mix
Processed
Signal
­device. Examples:
reverb,
digital delay. Stage
Channel
Path
OO
+15
U
LINE IN 6
75 Hz
18dB/OCT
+15
U
OO
Channel Path
OutputU
Section
AUX
U
+15
U
O +15
O
Mix
Processed
Stage U Signal
OO
+1
U
Dry Signal(s)
+15
U
AUX
Dry Signal(s)
LINE I
Wet Signal
Dry Signal(s)
OO
LEFT/MO
MIC PRE
XDR
“Serial” means that the entire signal is routed through
the effects device. Examples: compressor/limiters,
graphic equalizers. Line-level sources can be patched
BAL
BAL
BAL
through a serial
OReffects device before
OR or after the mixer,OR
UNBAL
or preferablyUNBAL
through the insert jacks
located on the UNBAL
rear panel (CHANNEL INSERT [17] send/return).
Dry Signal -10dBV
IC GAIN
U M
Through
the 1⁄4" input, there
is 15
GAIN
GAIN
dB of ­attenuation fully down and 45 dB
of gain fully up, with a “U” (unity gain) mark at 10:00.
This 15 dB of ­attenuation can be very handy when you
AUX
AUX
U
U
U to add
are ­inserting
a very hot signal,
orAUX
when you want
a lot of EQ gain, or both. Without this ­“virtual pad,” this­
­scenario might lead to channel clipping.
GAIN
6.+4/–10 LEVEL (Stereo Channels only)
18dB/OCT
BV
V
-10dthe
-10dBoriginates
If the signal
through
IC GAIN
IC GAIN
M
M
U
U
XLR jack, there will be 0 dB of gain
with the knob fully down, ramping to
60 dB of0gain60fully up.
0
60
-10dBV
C GAIN
MI
U
18dB/OCT
When connecting a mono device (just one cord), always use the LEFT (MONO) input (jacks 7, 9, 11, or 13)
and plug nothing into the RIGHT input (jacks 8, 10, 12
or 14)— this way the signal will appear on both sides.
This trick is called “jack normalling.”
The next two sections toss the terms “serial” and
“parallel” around like hacky sacks. Here’s what we mean
by them:
10kHz 20kHz
OR
In the stereo audio world, an odd-numbered channel usually receives the “left signal.” For ­example, you
would feed the 1402-VLZ3’s line inputs 7-8 a stereo
signal by inserting the device’s left output plug into the
channel 7 jack, and its right output plug into the channel 8 jack.
EFFECTS: SERIAL OR PARALLEL?
Low Cut with Low EQ
OR
These fully balanced inputs are designed for ­stereo or
mono, balanced or unbalanced signals, from –10 dBV to
+4 dBu. They can be used with just about any professional or semi-pro ­instrument, effect or tape player.
MIC PRE
XDR
–15
–15
5.STEREO LINE INPUTS
(Channels 7–8, 9–10, 11–12 and 13–14)
Owner’s Manual
3.LOW CUT (Channels 1–6)
OO
EQ
HI
12kHz
+15
U
OO
+15
EQ Manual
Owner’s
U
HI
12kHz
OO
EQ HI
12kHz
+1
U
1402-VLZ3
MIC 1
MIC 2
MIC PRE
XDR
MIC 4
MIC 3
MIC PRE
XDR
MIC PRE
XDR
MIC 5
MIC PRE
XDR
7
MIC 6
MIC PRE
XDR
LEFT/MONO
2
BAL
OR
UNBAL
LINE IN 1
BAL
OR
UNBAL
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
AUX
U
OO
+15
U
OO
+15
OO
+15
U
OO
+15
OO
LINE IN 5
0
60
+15dB -45dB
U
+15
U
OO
+15
OO
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
GAIN
AUX
LINE IN 6
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
GAIN
AUX
U
+15
U
OO
+15
OO
GAIN
AUX
U
+15
U
OO
U
U
HI
12kHz
-15
HI
12kHz
+15
U
-15
-15
+15
OO
-15
-15
LOW
80Hz
-15
AUX
-15
L R
dB
10
+15
-15
+15
-15
OO
+15
OO
+15
U
-15
+15
U
-15
-15
+15
-15
+15
U
+15
U
-15
L R
SOLO
SOLO
SOLO
dB
10
SOLO
5
5
5
5
5
5
5
U
U
U
U
U
U
-15
5
5
5
5
5
5
5
10
10
10
10
10
10
10
20
20
20
20
20
20
20
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
Mono Device: If you have an effects device with
a mono output (one cord), plug that into ­STEREO
RETURN 1 left/mono, and leave the right unplugged.
The signal will be sent to both sides, magically appearing in the center as a mono signal. This won’t work with
STEREO RETURN 2 — you’ll need a Y-cord.
OO
OO
OO
OO
OO
MAIN OUT
OO
8.AUX SEND 1&2
The AUX SEND [31] knobs in the channel sections
tap a portion of each channel's signal to provide an output here to feed external parallel effects processors or
stage monitoring. See the AUX SEND details on page 15.
These 1⁄4" jacks are also balanced outputs ­capable
of delivering 22 dBu into a 600 ohm balanced or unbalanced load.
9.TAPE INPUT
These RCA jacks are designed to work with semipro
as well as pro recorders. To compensate for typically
low levels, signals coming in here will be automatically
boosted by 6 dB.
Connect your tape recorder’s outputs here, ­using good
quality hi-fi (RCA) cables.
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
R
R
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 9-10
U
LINE IN 11-12
AUX
U
12
LINE IN 13-14
AUX
U
AUX
U
U
Use these jacks for convenient tape playback of your
mixes. You’ll be able to review a mix, then rewind and
try another pass, without repatching or disturbing the
RIGHT
EQ levels.
EQYou canEQ
mixer
also use EQ
theseC-R/SOURCE
with a tapeLEFT
or CD
player to feed ­music to a PA system between sets.
OO
+15
OO
+15
U
OO
+15
OO
U
+15
U
OO
+15
OO
U
HI
12kHz
+15
U
-15
+15
U
-15
+10
+15
HI
12kHz
+15
U
OO
OO
+20
U
OO
+20
U
0dB=0dBu
HI
12kHz
+15
U
-15
MID
2.5kHz
20
10
MAIN MIX
+15
U
+15
U
-15
MID
2.5kHz
+15
U
-15
7
LOW
80Hz
+15
-15
-15
-15
ALT 3–4
0
-15
2
TAPE
LOW
80Hz
+15
2
+15
U
LOW
80Hz
+15
4
MID
2.5kHz
+15
U
4
+15
7
ASSIGN
TO MAIN MIX
10
LEVEL
SET
20
L R
L R
ALT 3–4
ALT 3–4
dB
10
5
L R
L R
ALT 3–4
ALT 3–4
dB
10
5
10. TAPE OUTPUT
U
5
U
5
dB
10
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
MODE
48V
CTL ROOM
dB
10
dB
10
5
5
5
U
U
U
5
5
30
RUDE
SOLO
LIGHT
POWER
5
These unbalanced RCA connections tap the main
mix output to make simultaneous recording and PA
work more convenient. Connect these to your recorder’s
inputs. (See also MAIN MIX [32] on page 16.)
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
Mono Out: If you want to feed a mono signal to your
tape deck or other device, simply use an RCA Y-cord to
combine these outputs. Do not attempt this with any
other outputs on the 1402-VLZ3.
11. 1⁄4" MAIN OUTS
These outputs feed the main mix out into the waiting
world. You can feed your amplifiers this way, or through
the XLR MAIN OUTS [13].
These balanced outputs are capable of delivering 22
dBu into a 600 ohm balanced or unbalanced load.
To use these outputs to drive balanced inputs, connect 1⁄4" TRS (Tip–Ring–Sleeve) phone plugs like this:
Tip = + (hot)
Ring = –(cold)
Sleeve = Ground
For most music recording and PA applications,
unbalanced lines are perfectly acceptable. To use these
outputs to drive unbalanced inputs, connect 1⁄4" TS
(Tip-Sleeve) phone plugs like this:
Tip = + (hot)
Sleeve = Ground
1402-VLZ3
MONO
L
LOW
80Hz
dB
10
U
OO
R
WARNING: Engaging both the TAPE and
­ASSIGN TO MAIN MIX ­buttons in the CONTROL ROOM SOURCE [33] matrix can create
PAN
PAN
PAN
PANINPUT and TAPE OUTa feedback
path between
TAPE
PUT. Make sure your tape deck is not in record, recordor input11-12
monitor
mode
when you engage these
13-14
7-8pause,9-10
MUTE
MUTE
MUTE
MUTE
switches, or make sure the CONTROL ROOM
/ SUBMIX
/SUBMIX
MAIN MIX
fader
is fully down
SOLO [34] SOLO
SOLO (off).
SOLO
-15
ALT 3–4
SOLO
R
L
MID
2.5kHz
L R
ALT 3–4
dB
10
+15
One Device: If you have just one parallel effects device (two cords), use STEREO RETURN 1 left and right,
and leave RETURN 2 ­unplugged. That way, the ­unused
RETURN 2 level control can be used to feed RETURN 1
to your stage ­monitors, via the RETURN TO AUX 1 [42]
switch.
SOLO
-15
LOW
80Hz
+15
R
L
MONO
HI
12kHz
MID
2.5kHz
+15
U
L
MONO
+15
U
U
HI
12kHz
LOW
80Hz
ALT 3–4
dB
10
U
MID
2.5kHz
L R
ALT 3–4
dB
10
-15
LOW
80Hz
L R
ALT 3–4
dB
10
-15
LOW
80Hz
L R
ALT 3–4
+15
U
L
MONO
AUX
U
+15
U
HI
12kHz
MID
2.5kHz
+15
U
LOW
80Hz
+15
-15
MID
2.5kHz
+15
U
U
HI
12kHz
+15
U
MID
2.5kHz
+15
U
U
HI
12kHz
+15
U
MID
2.5kHz
-15
U
BAL/UNBAL
2
LINE IN 7-8
This is where you connect the outputs of your parallel effects devices (or extra audio sources). These
EQ
EQ
EQ
EQ
EQ
EQ
balanced inputs are similar to the stereo LINE IN [2]
inputs (without EQ, Aux Sends, Pan, Mute, and Solo).
The circuits will handle stereo or mono, balanced or
unbalanced signals, either instrument level, –10 dBV
or +4 dBu. They can be used with just about any pro or
semipro ­effects ­device
on PAN
the market.
comPAN
PAN
PAN The signals
PAN
PAN
ing into these inputs can be adjusted using the STEREO
RETURN
[41]2 knobs before
passing
onto5 the main6 mix
1
3
4
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
bus (see page 18).
OO
TAPE
TAPE
INPUT OUTPUT
1
AUX SEND
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
GAIN
7.STEREO RETURNS
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
0
60
+15dB -45dB
GAIN
AUX
LINE IN 4
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
GAIN
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
U
BAL
OR
UNBAL
9 10 11
ALL BAL/UNBAL
7
U
10
8
RIGHT
1
MIC PRE
XDR
14
15
16
12. PHONES
3-4 stereo bus (see MUTE/ALT 3-4 on page 13), Soloed
channels, or the Tape input. The volume is adjustable
TAPE
TAPE
with the CONTROL
ROOM/SUBMIX
[34] fader.
1
1
L
INPUT OUTPUT
This
stereo
jack will
drive any
standard
headphone
MIC 1
MIC 2
MIC 3
MIC 4
MIC 5
MIC 6
to very loud levels. Walkperson-type phones can also be
used with an appropriate adapter. To learn how signals
are routed to these outputs, see SOURCE MATRIX
[33] on page 16. If you’re wiring your own cable for the
PHONES output, follow ­standard conventions:
LEFT/MONO
MIC PRE
XDR
BAL
OR
UNBAL
LINE IN 1
MIC PRE
XDR
MIC PRE
XDR
BAL
OR
UNBAL
LINE IN 2
BAL
OR
UNBAL
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
MIC PRE
XDR
BAL
OR
UNBAL
LINE IN 4
Tip = Left channel
LOW CUT
75 Hz
18dB/OCT
MIC PRE
XDR
LINE IN 5
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
MIC PRE
XDR
BAL
OR
UNBAL
-10dBV
C GAIN
MI
ALL BAL/UNBAL
BAL/UNBAL
MONO
MONO
MONO
MONO
L
L
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
R
R
R
R
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
16. ALT 3–4 OUTPUT
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
RIGHT
These 1⁄4" Ljacks are Lbalanced outputs ­capable of de2
R
livering 22 2dBu
into a 600
ohm
balanced or unbalanced
R
R
load. AUX SEND
MAIN OUT
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
17
Owner’s Manual
13
-10dBV
C GAIN
MI
The output here is the sum of any channels that have
the MUTE/ALT 3-4 [25] switch pressed in (see page 13
Sleeve GAIN
= Common
LINE IN 7-8
LINE IN 13-14
LINE IN 11-12
GAIN
GAINground
GAIN
GAIN
GAIN
LINE IN 9-10
for the
tender
details).
WARNING:
When
we say
the headphone
amp
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
AUX
These 1⁄4"
jacksAUX
are balanced
outputs capable of deis loud, we’re not kidding. It can cause permanent ear damage. Even intermediate levels livering 22 dBu into a balanced or unbalanced load.
may be painfully loud with some earphones. BE CARECHANNEL
INSERT
(Channels
1–6 )
FUL! Always
move
the CTL
ROOM/
SUBMIX
fader all
the 17.
LEFT
RIGHT
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
C-R/SOURCE
way down before connecting headphones. Keep it down
These rear-panel jacks are where you connect serial
until you’ve put the phones on. Then turn it up slowly.
effects such as compressors, equalizers, de-essers, or
Why? “Engineers who fry their ears find themselves with filters. Since most people don’t have more than a few of
short careers.”
these ­gadgets, we’ve included inserts for just the first
Ring = Right channel
U
U
0
60
+15dB -45dB
0
60
+15dB -45dB
U
OO
OO
+15
U
OO
+15
OO
+15
-15
-15
+15
+15
-15
-15
+15
LOW
80Hz
+15
+15
U
-15
+15
LOW
80Hz
-15
+15
+15
U
-15
+15
-15
+15
-15
+15
U
-15
+15
-15
+15
LOW
80Hz
PAN
-15
+15
U
-15
+15
OO
+15
-15
-15
+10
+15
-15
+20
U
OO
+20
20
7
4
MID
2.5kHz
+15
U
-15
10
MAIN MIX
+15
U
ALT 3–4
2
+15
U
LOW
80Hz
0
2
TAPE
LOW
80Hz
six channels. If you want to use this kind of processing
PAN
PAN
PAN
PAN
on channels 7 through 14, simply patch through the
­processor before you plug into the 1402-VLZ3.
-15
+15
-15
+15
-15
4
+15
7
ASSIGN
TO MAIN MIX
PAN
OO
0dB=0dBu
HI
12kHz
+15
U
LOW
80Hz
OO
U
MID
2.5kHz
+15
U
LOW
80Hz
OO
U
U
+15
U
HI
12kHz
MID
2.5kHz
-15
OO
U
+15
U
MID
2.5kHz
LOW
80Hz
PAN
+15
U
+15
U
HI
12kHz
+15
U
-15
OO
U
HI
12kHz
-15
U
+15
U
OO
U
MID
2.5kHz
+15
U
OO
+15
OO
+15
U
-15
U
+15
U
HI
12kHz
MID
2.5kHz
-15
OO
U
+15
U
LOW
80Hz
PAN
OO
U
+15
U
HI
12kHz
MID
2.5kHz
-15
OO
U
+15
U
LOW
80Hz
PAN
PAN
13. XLR
MAIN
OUTS
OO
U
+15
U
HI
12kHz
MID
2.5kHz
-15
OO
U
+15
U
0
60
+15dB -45dB
U
+15
U
HI
12kHz
MID
2.5kHz
+15
U
OO
U
+15
U
-15
OO
U
0
60
+15dB -45dB
U
+15
U
HI
12kHz
MID
2.5kHz
+15
U
OO
U
+15
U
-15
OO
U
0
60
+15dB -45dB
U
+15
U
HI
12kHz
U
0
60
+15dB -45dB
U
U
-15
U
10
LEVEL
SET
20
NORMAL (AFL)
LEVEL SET (PFL)
These line-level outputs connect the main mix to the
13-14
2
3
4
5
6
7-8
9-10
11-12
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
outside
world.
Connect
themMUTE
to the balanced
inputs
of MUTE The
channel insert points are after/SUBMIX
the GAINMAIN[4]
and
MIX
a power amplifier or powered speakers. See page 16 for
LOW CUTSOLO[3] controls,
butSOLO
before the channel’s EQ
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
details of the main mix.
[27] controls and FADER [23]. The send (tip) is lowimpedance (120 ohms), capable of driving any line-level
These low-impedance outputs are fully balanced
device. The return (ring) is high-impedance (over 2.5 k
and capable of driving +4 dBu lines with up to 28 dB
ohms) and can be driven by almost any device.
of headroom. This output is 6 dB hotter than other
outputs.
SEND to processor
ring
“tip”
L R
L R
L R
L R
L R
L R
L R
1
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
ALT 3–4
L R
ALT 3–4
L R
ALT 3–4
L R
ALT 3–4
ALT 3–4
SOLO
MODE
48V
CTL ROOM
dB
10
POWER
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
dB
10
5
5
5
5
5
5
5
5
5
5
5
5
U
U
U
U
U
U
U
U
U
U
U
U
dB
10
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
14. XLR MAIN OUTPUT LEVEL SWITCH
Engaging this switch reduces the level of the balanced XLR main outputs by 40 dB, so you can feed the
­microphone input of, say, ­another mixer. (You can safely
connect the XLR outputs into an input that provides 48V
phantom power.)
15. CONTROL ROOM
These outputs are provided so you can listen to something other than the main mix. The source is selected
using the SOURCE MATRIX [33] switches (see page
16). You can choose to listen to the main mix, the Alt
tip
sleeve
OO
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
30
RUDE
SOLO
LIGHT
“ring”
RETURN from processor
See Appendix B for details and drawings about Insert
cables, and a diagram showing three ways to use the
jacks.
Besides being used for inserting external devices,
these jacks can also be used as channel direct outputs;
post-GAIN, post-LOW CUT, and pre EQ. In fact, Mackie
mic preamps have become so famous, that people buy
these mixers just to have six of these in their arsenal.
Owner’s Manual
11
1402-VLZ3
21 22
18
19
20
18. POWER CONNECTION
21. POWER SWITCH
MIC 1
MIC
2 loseMIC
4
5
6
3 cordMIC
Just
in caseMICyou
the
provided
with
theMIC1402VLZ3, its power jack accepts a standard ­3-prong IEC
cord like those found on most professional recorders,
musical instruments, and computers.
MIC PRE
XDR
MIC PRE
XDR
MIC PRE
XDR
BAL
OR
UNBAL
BAL
OR
UNBAL
MIC PRE
XDR
BAL
OR
UNBAL
MIC PRE
XDR
BAL
OR
UNBAL
TAPE
Press the top
of
thisTAPErocker switch
inwards to turn on
1
L
INPUT OUTPUT
the mixer. The Lpower LED
on the top surface of the mixL
er2 will glow with
happiness, or at
least it will if you have
2
R
R
the mixer plugged
in to aR suitable live AC mains supply.
LEFT/MONO
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
U
U
0
60
+15dB -45dB
OO
U
0
60
+15dB -45dB
U
+15
U
OO
+15
U
U
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
0
60
+15dB -45dB
GAIN
GAIN
GAIN
GAIN
WARNING:
Disconnecting
the AC
mainsGAIN
plug’s
ground
pin
can
be
dangerous.
Please
don’t
do
AUX
AUX
AUX
AUX
AUX
AUX
it.
19. FUSE
OO
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
0
60
+15dB -45dB
GAIN
U
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
OO
EQ
U
+15
U
OO
+15
OO
EQ
U
U
+15
U
OO
+15
U
OO
EQ
U
+15
U
OO
+15
U
OO
EQ
OO
+15
U
OO
EQ
+15
U
OO
EQ
The 1402-VLZ3 is fused for your (and its own) protection. If you suspect a blown fuse, disconnect the AC
mains power cord, pull the fuse drawer out (located just
below the cord receptacle) and replace the fuse with
a 500 mA (0.5 amps) SLO BLO 5x20 mm, available at
electronics
or your PAN
dealer. IfPAN
your local
is
PAN stores
PAN
PANvoltagePAN
220-240 VAC, use a 250 mA fuse.
HI
12kHz
-15
HI
12kHz
+15
U
-15
+15
U
MID
2.5kHz
-15
-15
+15
U
-15
-15
-15
+15
U
-15
-15
-15
+15
U
-15
-15
+15
U
MID
2.5kHz
+15
U
-15
-15
+15
U
LOW
80Hz
+15
-15
-15
+15
L R
L R
L R
L R
L R
L R
1
2
3
4
5
6
IfMUTE
two fuses
blow inMUTE
a row, something
is very wrong.
MUTE
MUTE
MUTE
MUTE
Please call our toll-free number 1-800-898-3211 from
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
within the
U.S. (or
call the
distributor
in your
country)
and find out what to do.
ALT 3–4
dB
10
ALT 3–4
dB
10
ALT 3–4
dB
10
ALT 3–4
dB
10
ALT 3–4
dB
10
5
5
5
5
5
5
U
U
U
U
U
20
5
20.
20
5
5
BAL
OR
UNBAL
BAL
OR
UNBAL
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
U
OO
OO
EQ
+15
U
OO
EQ
U
+15
U
OO
+15
U
OO
EQ
+15
U
-15
-15
+15
U
OO
EQ
HI
12kHz
-15
+10
+15
HI
12kHz
+15
U
U
U
+15
U
U
22. PHANTOM SWITCH
HI
12kHz
RIGHT
10
MID
2.5kHz
+15
U
-15
MID
2.5kHz
7
+15
U
-15
+15
U
LOW
80Hz
+15
-15
-15
-15
+15
PAN
-15
ALT 3–4
2
+15
U
LOW
80Hz
+15
PAN
4
MID
2.5kHz
0
LOW
80Hz
TAPE
PAN
ASSIGN
TO MAIN MIX
2
4
+15
PAN
7
Press the top of the switch inwards to engage phantom power to the six MIC inputs. Press the bottom of
13-14
7-8
9-10
11-12
MUTEthe switch
MUTE to turn
MUTEit off. MUTE
10
LEVEL
SET
20
L R
L R
ALT 3–4
NORMAL (AFL)
LEVEL SET (PFL)
L R
ALT 3–4
ALT 3–4
SOLO
MODE
48V
POWER
CTL ROOM /SUBMIX
dB
10
30
RUDE
SOLO
LIGHT
MAIN MIX
When turned
on (or
SOLO
SOLO off), the
SOLO phantom power circuitry
takes a few moments for voltage to ramp up (or down).
This is perfectly normal.
SOLO
dB
10
dB
10
dB
10
dB
10
5
5
5
5
5
U
U
U
U
U
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
1402-VLZ3
+20
20
10
Use a small flat-headed screwdriver to slide the switch
if needed. The switch allows you to use the mixer in different countries and voltages, meet interesting people
from other cultures, and entertain them with your
unique blend of Rockabilly Funkadelia Thrash Metal.
OO
0dB=0dBu
10
VOLTAGE SELECTOR
+20
U
LEFT
C-R/SOURCE
MAIN MIX
+15
U
OO
This global rocker switch controls the phantom power
supply for condenser microphones plugged into channel
MIC [1] inputs (see page 8).
LOW
80Hz
-15
OO
+15
U
MID
2.5kHz
-15
U
10
WARNING: Before you plug the AC power cord
into the 1402-VLZ3, you must make sure that
this slide switch is set to the same voltage as your local
AC main supply. Only slide the voltage switch with the
power cord unplugged.
12
BAL
OR
UNBAL
ALT 3–4
U
10
-15
dB
10
5
5
BAL
OR
UNBAL
L R
U
10
MONO
HI
12kHz
ALT 3–4
dB
10
MONO
+15
LOW
80Hz
+15
MONO
As a general
you should
AUX
AUX guide,
AUX
AUX turn on your mixer
first, before the power amplifier or powered speakers,
and turn it off last. This will reduce the possibilities of
any turn-on, or turn-off thumps in your speakers.
U
MID
2.5kHz
+15
U
LOW
80Hz
+15
-15
MAIN OUT
MONO
+15
U
HI
12kHz
+15
U
MID
2.5kHz
LOW
80Hz
+15
HI
12kHz
+15
U
MID
2.5kHz
LOW
80Hz
+15
HI
12kHz
+15
U
MID
2.5kHz
LOW
80Hz
-15
HI
12kHz
U
OO
+15
U
BAL/UNBAL
Press
theLbottom ofL this switch
to put the mixer into
L
L
standby mode. It will not function, but the circuits are
still
power,R either turn off the AC
R live. ToR remove AC
R
mains supply, or unplug the power cord from the mixer
and
LINE IN
7-8 the
LINE IN 13-14
LINE INsupply.
11-12
LINEAC
IN 9-10mains
U
+15
U
ALL BAL/UNBAL
AUX SEND
BAL
OR
UNBAL
WARNING: Before you plug the AC power cord
LINE IN 1
LINE IN 2
LINE IN 3
LINE IN 4
IN 5
LINE IN 6
into
the 1402-VLZ3,
you mustLINEmake
sure
that
the VOLTAGE SELECTOR [20] slide switch is
set to the same voltage as your local AC mains supply.
-10dBV
C GAIN
MI
RIGHT
1
MIC PRE
XDR
The ten channel strips look alike, and function identically. The only difference is that the six on the left are
for individual mics or mono instruments, and have more
gain available,
whileMIC
the next four are
for either stereo
MIC 1
MIC 3
MIC 4
2
MIC PRE
MIC PRE
MIC PRE
MIC PRE
R
R
R
D
D
D
or mono
line-level sources.
(Each ofX the stereo channel
XDR
X
X
strips is actually two complete circuits. The controls are
linked together to preserve stereo.) We’ll start at the
­bottom and work our way up…
25
24
23
Owner’s Manual
Channel Strip Description
The 1402-VLZ3 has "dual-mode solo." The SOLO
MODE [35] switch in the Master section determines
which mode you'll be hearing. With the switch up, you'll
get "AFL"
(After-Fader-Listen),
which
is post-FADER,
ALL BAL/UNBAL
LEFT/MONO
RIGHT
MIC 5
MIC 6
MIC PRE
MIC PRE
R
R
D
D
1
1
post-PAN,
making it ideal
for mixdown soloing.
With the
X
X
switch down, you're in "PFL" (Pre-Fader-Listen), used
in the Level Setting Procedure.
TAPE
INPU
L
2
2
Soloed channels are sent to the SOURCE
mix, which
R
ultimately feeds your control room, phones and meters.
“U” LIKE UNITY GAIN
Whenever SOLO is engaged, all SOURCE selections AUX SEND
BAL
BAL
BAL
BAL
BAL
BAL
MONO to allow MONO
Mackie mixers
have a “U”
every
ALT 3-4 and TAPE)
are defeated,
OR
ORsymbol on almost
OR
OR (MAIN MIX, OR
OR
UNBAL
UNBAL
UNBAL
UNBAL
UNBAL
UNBAL
level control. This “U” stands for “unity gain,” meaning
the soloed signal to do just that — solo! L
L
IN 1 in signal
LINElevel.
IN 2 Once you
LINEhave
IN 3 adjusted
LINEthe
IN 4
LINE IN 5
LINE IN 6
noLINE
change
BAL
BAL
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW CUT
OR
OR
input signal
to line-level,
you
75 Hz
75
Hz can set every
75 Hzcontrol at
75 Hz 25. MUTE/ALT
75 Hz
75 Hz
3–4 18dB/OCT
UNBAL
UNBAL
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
“U” and
signals will
BV
-10dBV
-10dBV
-10dBVthe mixer at-10dBV
-10dyour
-10dBVtravel through
C GAIN
IC GAIN
IC GAIN
IC GAIN
IC GAIN
IC GAIN
The
dual-purpose
MUTE/ALT
3–4 bus is Ra Mackie sig- R
MI
U M
U M
U M
U M
U M
optimal
levels. What’s
more, all the
labels on our Ulevel
nature. When Greg was designing our first product, he
controls are measured in decibels (dB), so you’ll know
LEVEL
LEVEL
+4
had to 0include
a MUTE0 switch
for each channel.
MUTE +4
0
60
0
60
0
60
0
60
60
60
10
-10
what+15dB
you’re
if you +15dB
choose
a -45dB
-45dB doing level-wise
+15dB -45dB
-45dB to change
+15dB
+15dB -45dB
+15dB -45dB
switches
do just whatGAIN
they sound like
they
do. They
turn
LINE
IN
7-8
LINE IN
GAIN
GAIN
GAIN
GAIN
GAIN
LINE
IN
9-10
control’s settings.
off the signal by “routing” it into oblivion. “Gee, what a
You won’t have to check it here and
waste,” Greg reasoned. “Why not have the mute button
AUX check
AUX withU someAUXroute the
AUX somewhere
AUX
AUX
AUX
U
U
U
U
U
U
U
itAUX
there, asUyou would
signal
else useful…
like a sepaother mixers. In fact, some don’t even rate stereo bus?” So MUTE/ALT 3–4 really serves two
have
any reference+15to actual dB levels
functions
— muting (often
used during
a mixdown or+15
+15
+15
+15
+15
+15
+15
+15
U
U
U
U
U
U
U
at Uall! Ever seen those
“0–10” fader
live show),
and signalU routing (for multitrack
and live
markings? We call these AUMs (Arbiwork) where it acts as an ­extra stereo bus.
trary
Units of Measurement),
and+15
they
+15
+15
+15
+15this as a MUTE
+15 switch, all you
+15 have to do is +15
+15
To use
mean
nothing
in
the
real
world.
You
U
U
U
U
U
U
U
U
U
EQ
EQ
EQ
EQnot use
EQ
EQ
EQ
EQ
the ALT 3–4 [16] outputs. Then, whenever you
were smart
— you bought
a Mackie. HI
HI
HI
HI
HI
HI
HI
HI
outputs,12kHz
you’ll
also be 12kHz
12kHz
12kHz
12kHz
12kHzassign a channel
12kHz to these unused
12kHz
disconnecting
it from
muting
-15 +15
-15 +15
+15
-15 +15
-15 +15
-15 the
+15 main mix,
-15 effectively
+15
-15 +15
-15 +15
23.U CHANNEL-15FADER
U
U
U
U
U
U
U
U
the channel.
MID
MID
MID channel’s MID
MID
MID
MID
MID
These2.5kHz
faders control2.5kHz
the
2.5kHz
2.5kHz
2.5kHz
To use this
as an ALT 3–42.5kHz
switch, all you2.5kHz
have to do 2.5kHz
level… from off,
to unity gain,-15on +15
up
-15 +15
-15 +15
-15 +15
-15 +15
+15
-15 +15
-15 +15
-15 +15
is connect
the ALT-153–4
destination
U
U
U
U
U outputs to whatever
U
U
U
to U10 dB of additional
gain. Channels
1
you
desire.
Two
popular
examples:
LOW
LOW
LOW and chan- LOW
LOW
LOW
LOW
LOW
through80Hz
6 use mono faders,
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
nels 7 through -15
14 use
stereo faders,
When
doing multitrack
3–4+15
+15
+15 the ALT -15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15 recording,
-15 use
-15 +15
and
may
feel
slightly
different.
Not
a
outputs
to
feed
your
multitrack.
With
most
decks,
you
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
problem.
can mult the ALT 3–4 outputs, using Y-cords or mults, to
feed multiple tracks. So, take ALT OUTPUT L and send
L R
L R
L R
L R
L R
L R
L R
L R
L R
it to tracks 1, 3, 5 and 7, and ALT OUTPUT R and send it
24. SOLO
1
2
3
4
5 2, 4, 6 and 8.6Now, tracks 7-8
9-10or
11-12
to tracks
that are in Record
MUTE
MUTE
MUTE allows you
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
This
lovable
switch
to
–
–
–
–
–
–
–
–
ALT 3 4
ALT 3 4
ALT 3 4
ALT 3 4
ALTmodes
3 4
ALT 3the
4
3 4
ALT 3 4in
ALT 3 – 4
Input
will hear
ALT 3–4ALT
signals,
and tracks
hear signals through your headphones
Playback
or Safe dB
modes will ignore
them.
dB
dB or control room
dB without having
dB to
dB
dB
dB
dB
10
10
10
10
10
10
10
10
10
SOLO
SOLOto the main
SOLO
SOLO
SOLO
SOLO
SOLO
route them
mix or ALT 3-4SOLO When doing
live sound or mixdown, it’s often handy
5
5 mix. You don’t5 even have to have
5
5
5
5
the
to 5control the level
of several channels
with one5knob.
use
That’s
called subgrouping.
SimplyU assign these channels
U
U channel’s fader
U turned up. Folks
U
U
U
U
U
solo in live work to preview channels
to
the
ALT
3–4
mix,
engage
ALT
3–4
in
the
SOURCE
5
5
5
5
5
5
5
5
5
before they are let into the mix, or to
[33] matrix, and the signals will appear in the control
10
10 just check out
10 what a particular
10
10
10
10 the ALT 3–4 10
10
chan- room
and headphones.
If you want
signals
nel is up to anytime
during a20session.
to20go back into the
the ­ASSIGN
20
20
20
20 main mix, engage
20
20 TO
20
You can solo as many channels at a
MAIN
MIX
[37]
switch,
and
the ­CONTROL
ROOM/
30
30
30
30
30
30
30
30
30
time as you like.
SUBMIX fader [34] controls the ­levels of all channels
40
40
40
40
40
40
40
40
40
assigned
to ALT 3–4.
50
50
50
50 the
50
50
50
50
50
Solo
is
also
the
key
player
in
60
60
60
60
60
60
60
60
60
Level-­Setting Procedure on page 3.
OO
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OO
OO
OO
OO
OO
OO
OO
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OO
OO
Owner’s Manual
OO
13
1402-VLZ3
Another way to do the same thing is assign the chanCONSTANT LOUDNESS ! ! !
nels to the ALT 3–4 mix, then patch out of the ALT
The 1402-VLZ3’s PAN controls employ a design called
ALL BAL/UNBAL
LEFT/MONO
RIGHT
OUTPUT
L 1and R backMIC
into2an unusedMIC
stereo
channelMIC 4
TA
MIC
MIC 5
6
3
IC PR
Loudness.”
ItXMIC
to do with
living
MIC PRE
MIC PRE
MIC PRE
M
R MIC PRE “Constant
R MIC Pnothing
RE
Dhas
1
1
E
IN
XDR
XDR
XDR
XDR
(7–8, 9–10,
11–12, 13–14).
If that’s your
choice, don’tXD
next to a freeway. As you turn the PAN knob from left
ever engage the MUTE/ALT 3–4 switch on that stereo
L
to right (thereby causing the sound to move from the
channel, or you’ll have every dog in the neighborhood
left to the center to the right), the sound will appear to
2
2
howling at your feedback loop.
remain at the same ­volume (or loudness).
R
Another benefit of the ALT 3–4 feature is that it
If you have a channel panned hard left (or right) and
AUX SEND
can act as a “AFL”
(After-Fader-Listen):
justBALengage a
BAL
BAL
BAL
reading
0 dB, itBAL
must dip downBAL
about 4 dB MONO
on the left
MONO
OR
OR
OR
OR
OR
OR
channel's MUTE/ALT
3–4 switch
3–4 switch UNBAL
UNBAL
UNBAL and the ALT
UNBAL
UNBAL
UNBAL
(or right) when
panned center.
To do otherwise
(the
L
L
in the SOURCE matrix and you’ll get that channel, all by
way Brand
mixers
LINE IN 1
LINE IN 2
LINE IN 3
LINE IN 4
LINE IN X
5 compact
LINE
IN 6 do) would make the sound
itself,
in the
control
room
and
phones.
BAL
LOW CUT
LOW CUT
LOW CUT
LOW CUT
LOW
CUT
LOW CUT center. BAL
appear much
louder
when panned
OR
OR
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
75 Hz
UNBAL
UNBAL
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
18dB/OCT
MUTE/ALT
3–4
is
one
of
those
controls
that
can
bewil-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
-10dBV
R
R
C GAIN
IC GAIN
IC GAIN
IC GAIN
IC GAIN
IC GAIN
MI
U M
U M your time and
U Mplay around Uwith
U MEQ
U M
der newcomers,
so take
3-BAND
it. Once you’ve got it down, you’ll probably think of a
LEVEL
The 1402-VLZ3
has 3-band
equalization atLEVEL
+4carefully
+4
0
60
0
60
0
60
0
60
0
60
0
60
10
-10
hundred
spiffy
uses
for
it!
+15dB -45dB
+15dB -45dB
+15dB -45dB
+15dB -45dB
-45dB
-45dB
selected+15dB
points
— LOW+15dB
shelving
at LINE
80 Hz,
MID peaking
IN 7-8
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
LINE
LINE IN 9-10
at 2.5 kHz, and HI shelving at 12 kHz. “Shelving” means
26. PAN
that the circuitry boosts or cuts all frequencies past the
­specifiedU frequency.
the
LOW EQ
AUX
AUX theU amount
AUXof chanAUX
AUX ForU example,
AUX rotating
AUX
AUX
U
UPAN adjusts
U
U
U
U
knob
15
dB
to
the
right
boosts
bass
starting
at
80
Hz
and
nel signal sent to the left versus the
continuing down to the lowest note you never heard.
right outputs. On mono channels
+15
+15
+15
+15
+15
+15
+15
+15
“Peaking”
form a “hill”U
U
U 1–6 or 7–14 U
U
U means that certain ­frequencies
U
U
U
(ch.
with connections
around
the
center ­frequency
—
2.5
kHz
in
the
case
of
to the left input only) these controls
the MID EQ.
act as pan pots. On ­stereo channels
+15
+15
+15
+15
+15
+15
+15
+15
(7–14)
with stereo
connections to
U
U
U
U
U
U
U
U
U
EQ
EQ
EQ
EQ
EQ
EQ
EQ
EQ
L
and
R ­inputs,
the
PAN
knob
works
27.
LOW
EQ
HI
HI
HI
HI
HI
HI
HI
HI
12kHz
12kHz
12kHz
12kHz
12kHz
12kHz
like the12kHz
balance control12kHz
on your
+15
This
control
gives
you
-15 +15
-15
+15 stereo. -15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15
home
+10
U
U
U
U
U
U
U
up to 15UdB boost or cutU
+5
MID
MID
MID of the
MID
MID circuit is
MID
MID
MID
below 80 Hz. The
PAN determines
the 2.5kHz
fate
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
2.5kHz
flat (no boost or cut) at the 0
main
mix
and
ALT
3–4
mix.
With
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15
U
U PAN knob hard
U left, the signal
U
U
U
U
U
center detent
position. UThis –5
the
–10
frequency
represents
the
LOW
LOW
LOW
LOW
LOW
LOW
LOW
LOW
will feed80Hz
either MAIN OUT
L (bus
–15
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
80Hz
20
100
1k
10k 20k
punch in bass drums, bass
1)
or
ALT
OUTPUT
L
(bus
3),
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15 +15
-15
Low EQ
guitar, fat synth patches,
depending
on the position
of the
PAN
PAN
PAN
PAN
PAN
PAN
PAN
PAN
+15
ALT 3–4 [25] switch. With the knob and some really serious
+10
male
singers.
hard right, the signal feeds MAIN
+5
L R
L R
R
L R
L R
L R
L R
L
OUT
R (bus 2) orL ALT
OUTPUTLRR
Used in conjunction with 0
1
2 4).
3
4
5
6
7-8
9-10
11(bus
–5
the LOW
CUT [3] switch,
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MUTE
MU
ALT 3 – 4
ALT 3 – 4
ALT 3 – 4
ALT 3 – 4
ALT 3 – 4
ALT 3 – 4
ALT 3 – 4
ALT 3 – 4
ALT 3
you can boost the LOW EQ –10
–15
without
injecting a dBton of
dB
dB
dB
dB
dB
dB 100
dB 10k 20k
dB
20
1k
10
10
10
10
10
10
10
10
10
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
subsonic debris
into the
Low EQ with Low
Cut
mix.5
5
5
5
5
5
5
5
5
31
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
OO
30
29
28
27
Hz
Hz
Hz
Hz
Hz
Hz
Hz
Hz
26
Hz
14
U
U
U
U
5
5
5
5
10
10
10
10
20
20
20
20
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
OO
OO
OO
OO
1402-VLZ3
U
U
5
5
28. MID EQ
+15
Hz
U
U
U
5
5
5
Short for “midrange,”
+10
10
10
10
10
this knob provides 15 dB
+5
20
20
20
of boost
or cut, centered
at 0 20
2.5 kHz,
also flat at 30the cen- –5 30
30
30
–10
ter detent. Midrange EQ
40
40
40
40
–15
is ­often
thought of as
50
50 the
50
50
20
1k
60
60
60100
60 10k 20k
most dynamic, because the
Mid EQ
frequencies that define any
particular sound are almost always found in this range.
You can create many interesting and useful EQ changes
by turning this knob down as well as up.
Hz
OO
OO
Hz
OO
Hz
Hz
OO
Hz
10
20
30
40
50
60
OO
This control gives you up
to 15 dB boost or cut above
12 kHz, and it is also flat
at the detent. Use it to add
sizzle to cymbals, and an
overall sense of transparency, or edge to keyboards,
­vocals, guitar and bacon
­frying. Turn it down a little
to reduce ­sibilance, or to
hide tape hiss.
Each AUX send level ranges from off through unity
(the center detent position) on up to 15 dB of extra gain
(when turned fully clockwise). Chances are you’ll never
need this extra gain, but it’s nice to know it’s there if
you do.
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
High EQ
MODERATION DURING EQ
With EQ, you can also screw things up royally. We’ve
designed a lot of boost and cut into each equalizer circuit, because we know everyone will occasionally need
that. But if you max the EQs on every channel, you’ll
get mix mush. Equalize subtly and use the left sides of
the knobs (cut), as well as the right (boost). Very few
gold-record-album engineers ever use more than about
3dB of EQ. If you need more than that, there’s usually a
better way to get it, such as placing a mic differently (or
using a different kind of mic entirely).
Channel 7–14 AUX pots control the mono sum of
the channel’s stereo signals for each AUX send. For
instance, channel 7 (L) and 8 (R) mix together to feed
that channel’s AUX send knobs.
We recommend going into a stereo reverb in mono and
returning in stereo. We have found that on most “stereo”
reverbs the second input just ties up an extra AUX send
and adds nothing to the sound. There are exceptions, so
feel free to try it both ways. If your effects device is true
stereo all the way through, use AUX 1 to feed its left
input and AUX 2 to feed the right input.
Owner’s Manual
29. HI EQ
Still with us? Good for you. Here come the tricky
parts, the output, or master section where the mixing
is really done. We have even started it on a shiny new
page:
31. AUX 1 and 30. AUX 2 SEND
These knobs allow you to tap a portion of each channel signal out to another source for parallel effects
processing or stage monitoring. AUX send levels are
controlled by the channel’s AUX 1 and AUX 2 knobs and
by the AUX 1 MASTER [40].
These are more than just effects and monitor sends.
They can be used to generate separate mixes for recording or “mix-minuses” for broadcast. By using AUX 1 in
the PRE [39] mode, these mix levels can be obtained
independently of the channel’s fader.
AUX 1 (when in post mode) and AUX 2, are post-LOW
CUT, post-EQ and post-fader. That is, the sends obey the
settings of these controls. AUX 1 in PRE mode follows
the EQ and LOW CUT settings only. PAN and LEVEL
(FADER) have no effect on the PRE send (see diagram
below).
LEVEL
INPUT
GAIN
LO CUT
INSERT
PAN
EQ
MAIN / ALT
"POST" SIGNAL OBEYS
MUTE STATUS
“Pre vs. Post”
AUX 2 KNOB
Signal Flow Diagram
TO AUX SEND 2 LEVEL
"POST" SIGNAL
"PRE" SIGNAL
AUX 1 KNOB
TO AUX SEND 1 LEVEL
AUX SEND 1 PRE/POST SWITCH
(IN MASTER SECTION)
Owner’s Manual
15
OR
UNBAL
1402-VLZ3
R
Output Section
LEVEL
+4
-10
LINE IN 13-14
33. CONTROL ROOM SOURCE MATRIX
AUX
U
OO
OO
+15
U
OO
EQ
HI
12kHz
-15
+15
U
33
OO
+20
RIGHT
20
10
7
4
ALT 3–4
38
2
+15
U
+15
PAN
4
37
13-14
MUTE
ALT 3 – 4
48V
SOLO
7
ASSIGN
TO MAIN MIX
35
L R
2
TAPE
10
LEVEL
SET
20
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
MODE
POWER
CTL ROOM /SUBMIX
dB
10
dB
10
5
5
5
U
U
U
5
5
5
10
10
10
20
20
20
30
30
30
40
50
60
40
50
60
40
50
60
OO
OO
OO
34
30
RUDE
SOLO
LIGHT
36
MAIN MIX
Now you know how to select the signals to send to the
engineer’s control room or phones. From there, these
signals all pass through the same level control:
32
These faders control the levels of signals sent to the
main outputs: XLR [13], 1⁄4" TRS [11], and TAPE [10].
All channels and STEREO RETURNS that are not muted
or turned fully down will end up in the main mix.
Fully down is off, the "U" is unity gain, and fully up
p­ rovides 10 dB ­additional gain. This additional gain will
typically never be needed, but once again, it’s nice to
know it’s there. This is the fader to move down at the
end of the song when you want The Great Fade-Out.
1402-VLZ3
The exception to that is the SOLO function. Regardless of the source matrix selection, engaging a channel’s
SOLO [24] switch will replace that selection with the
solo signal, also sent to the control room, phones and
meter. This is what makes the Level-Setting ­Procedure
so easy to do.
WARNING: Engaging both the TAPE and
­ASSIGN TO MAIN MIX ­buttons in the
SOURCE matrix can create a feedback path
between TAPE INPUT and TAPE OUTPUT. Make sure
your tape deck is not in record, record-pause, or input
monitor mode when you engage these switches, or make
sure the CONTROL ROOM / SUBMIX [34] fader is fully
down.
32. MAIN MIX FADERS
16
Via these SOURCE switches, you can choose to listen
to any combination of main mix, ALT 3-4 and TAPE. By
now, you probably know what the main mix is. ALT 3-4 is
that additional stereo mix bus. Tape is the stereo signal
coming in from the TAPE INPUT [9] jacks.
Selections made in the source matrix deliver stereo
signals to the control room, phones and meter display.
With no switches ­engaged, there will be no signal at
these outputs and no meter indication.
0
N
dB
10
+20
U
0dB=0dBu
MAIN MIX
LOW
80Hz
-15
OO
LEFT
C-R/SOURCE
MID
2.5kHz
-15
+10
+15
U
Typically, the engineer sends the main mix to an audience (if mixing live) or a mixdown deck (if recording).
But what if the engineer needs to hear something other
than the main mix? With the 1402-VLZ3, the engineer
has several choices of what to listen to. This is one of
those tricky parts, so buckle up.
U
U
34. CONTROL ROOM/SUBMIX
This fader controls the ­levels of both the control room
outputs and phones outputs. The fader ranges from off,
through unity gain at the "U", to 10 dB of extra gain
when fully up.
When MAIN MIX is your control room source selection, those signals will now pass through two level controls on the way to your control room amp and phones
— the MAIN MIX [32] faders and this CONTROL ROOM
/ SUBMIX fader. This way, you can send a nice healthy
level to the main output (MAIN MIX fader at “U”), and
a quiet level to the control room or phones (CONTROL
ROOM / SUBMIX fader wherever you like it).
When ALT 3-4 or TAPE is selected, or SOLO is engaged, this fader will be the only one controlling these
­levels (channel controls not withstanding).
35. SOLO MODE (AFL/PFL)
Engaging a channel’s SOLO [24] switch will cause
this dramatic turn of events: Any existing SOURCE [33]
matrix selections will be replaced by the SOLO signal,
appearing at the control room outputs, phones outputs,
and meter. The ­audible SOLO levels are then controlled
by the CONTROL ROOM / SUBMIX [34] fader. The
SOLO levels appearing on the right meter display are
not controlled by anything — you wouldn’t want that.
You want to see the actual channel level on the meter
display ­regardless of how loud you’re listening.
With this SOLO MODE switch in the up position,
you're in AFL mode, meaning After-Fader-Listen. You'll
hear the output of the soloed channel and it will follow
the GAIN, EQ, FADER and PAN settings. It's similar to
muting all the other channels, but without the hassle.
Use AFL mode during mixdown.
With the SOLO MODE switch in the down position,
you're in PFL mode, meaning Pre-Fader-Listen (post
EQ). This is required for the Level Setting Procedure,
and is handy for quick spot-checks of channels, especially ones that have their faders turned down.
In either mode, SOLO will not be affected by a
channel's MUTE/ALT [25] switch position.
36. RUDE SOLO LIGHT
This flashing Light Emitting Diode serves two purposes — to remind you that at least one channel is
in SOLO, and to let you know that you’re mixing on a
Mackie. No other company is so concerned about your
level of SOLO awareness. If you work on a mixer that
has a solo function with no indicator lights, and you
happen to forget you’re in solo, you can easily be tricked
into thinking that something is wrong with your mixer.
Hence the RUDE SOLO LIGHT. It’s especially handy at
about 3 a.m. when no sound is coming out of your monitors but your multitrack is playing back like mad.
37. ASSIGN TO MAIN MIX
Let’s say you’re doing a live show. Intermission is nearing and you’ll want to play a soothing CD for the crowd
to prevent them from becoming antsy. Then you think,
“But I have the CD player plugged into the TAPE ­inputs,
and that never gets to the main outputs!” Oh, but it
does. Simply engage this switch and your SOURCE [33]
matrix selection,­ ­after going through the CONTROL
ROOM / SUBMIX [34] fader, will feed into the main mix,
just as if it were ­another stereo channel.
Another handy use for this switch is to enable the ALT
3-4 mix to become a submix of the main mix, using the
CONTROL ROOM/SUBMIX fader as its level control.
Owner’s Manual
Whatever your selection, you can also use the control
room outputs for other applications. Its sound quality is
just as impeccable as the main outputs. It can be used
as additional main mix output, which may sound silly
since there are already three, but this one has its own
level control. However, should you do something like
this, be sure that you do not engage a SOLO switch, as
that will ­interrupt your SOURCE selection.
Side effects: (1) Engaging this switch will also feed
any soloed channels into the main mix, which may be
the last thing you want. (2) If you have MAIN MIX as
your SOURCE matrix selection and then engage ASSIGN
TO MAIN MIX [37], the main mix lines to the SOURCE
matrix will be interrupted to prevent feedback. Then
again, why on earth would anyone want to ­assign the
main mix to the main mix?
38. METERS – MANY DISPLAYS IN ONE!
The 1402-VLZ3’s peak metering system is made up of
two columns of twelve LEDs. Deceptively simple, considering the multitude of signals that can be monitored by
it.
If nothing is selected in the SOURCE [33] ­matrix and
no channels are in SOLO [24], the meters will just sit
there and do nothing. To put them to work, you must
make a selection in the SOURCE matrix (or engage a
SOLO switch).
Why? You want the meter display to reflect what the
engineer is listening to, and as we’ve covered, the engineer is listening either to the control room outputs or
the phones outputs. The only difference is that while the
listening levels are controlled by the CONTROL ROOM
/ SUBMIX [34] fader, the meters read the SOURCE mix
before that control, giving you the real facts at all times,
even if you’re not listening at all.
Thanks to the 1402-VLZ3’s wide dynamic range,
you can get a good mix with peaks flashing anywhere
between –20 and +10 dB on the meters. Most amplifiers clip at about +10 dB, and some recorders aren’t so
forgiving either. For best real-world results, try to keep
your peaks between “0” and “+7”.
You may already be an ­expert at the world of “+4” (+4
dBu=1.23 V) and “–10” (–10 dBV=0.32 V) operating
levels. Basically, what makes a mixer one or the other
is the relative 0 dB VU (or 0 VU) chosen for the meters.
A “+4” mixer, with a +4 dBu signal pouring out the back
will actually read 0 VU on its meters. A “–10” mixer,
with a –10 dBV signal trickling out, will read 0 VU on its
meters. So when is 0 VU actually 0 dBu? Right now!
Owner’s Manual
17
1402-VLZ3
TAPE
UTPUT
Remember, audio meters are just tools to help ­assure
you that your levels are “in the ballpark.” You don’t have
to stare at them ­(unless you want to).
BAL/UNBAL
L
A WORD
ABOUT AUX
Sends are outputs, Returns are inputs. The AUX [30]
and [31] knobs tap the signal off the channel and sends
R
it to the AUX SEND [8] outputs. The AUX 1 signal is
sent to the AUX 1 MASTER [40] knob before going
the AUX SEND 1 output and the AUX 2 signal goes
MAIN to
OUT
MONO
directly to the AUX SEND 2 output.
L
R
O
L
These outputs can be fed to the inputs of a reverb or
other device. From there, the outputs of this external
device are fed back to the mixer’s STEREO RETURN [7]
R
jacks. Then these signals are sent through the STEREO
RETURN [41] level controls, and are ­finally delivered to
LEVEL
+4
the main mix.
-10
BAL
OR
UNBAL
AL
EL
LINE IN 13-14
UX
U
OO
+15
U
OO
+15
AUX
40
OO
+10
42
U
I
Hz
EQ
HI
12kHz
-15
D
Hz
-15
RIGHT
4
ALT 3–4
2
0
LOW
80Hz
TAPE
PAN
ASSIGN
TO MAIN MIX
2
7
10
20
L R
SOLO
MODE
13-14
ALT 3 – 4
dB
10
48V
SOLO
POWER
CTL ROOM /SUBMIX
dB
10
dB
10
5
5
U
U
U
5
5
5
10
10
10
20
20
20
30
30
40
50
60
OO
18
1402-VLZ3
40
30
RUDE
SOLO
LIGHT
5
30
Besides being used to work effects into your mix, Aux
Sends serve another critical role — that of delivering
cue mixes to stage monitors, so musicians can hear what
they’re doing. On the 1402-VLZ3, AUX SEND 1 can play
either role, depending on the position of this switch.
With the AUX 1 SELECT switch up (disengaged),
AUX SEND 1 will tap a channel pre-fader [23] and preMUTE/ALT 3-4 [25], meaning that no matter how you
manipulate those controls as they feed the main mix,
the AUX SEND will continue to belt out that channel’s
signal. This is the preferred method for setting up stage
monitor feeds. EQ settings will affect all AUX SENDs.
With the switch down, the AUX SEND 1 ­becomes an
ordinary effects send — post-fader and post-MUTE/ALT
3-4. This is a must for effects sends, since you want the
levels of your “wet” ­signals to follow the “dry” level.
The AUX 1 MASTER provides overall level control of
AUX SEND 1, just before it’s delivered to the AUX SEND
1 [8] output. (AUX SEND 2 has no such control.) This
knob goes from off (turned fully down), to unity gain at
the center detent, with 10 dB of extra gain (turned fully
up). As with some other level controls, you may never
need the additional gain, but if you ever do, you’ll be
glad you bought a Mackie.
4
NORMAL (AFL)
LEVEL SET (PFL)
MUTE
39. PRE/POST (AUX 1)
This is usually the knob you turn up when the lead
singer glares at you, points at his stage monitor, and
sticks his thumb up in the air. (It would follow suit that
if the singer stuck his thumb down, you’d turn the knob
down… but that never happens.)
7
+15
AN
+20
10
+15
U
W
Hz
OO
41
20
MID
2.5kHz
-15
+20
U
0dB=0dBu
MAIN MIX
+15
U
OO
LEFT
C-R/SOURCE
So, the original “dry” signals go from the channels
to the main mix and the affected “wet” signals go from
the STEREO RETURN to the main mix, and once mixed
together, the dry and wet signals combine to create a
glorious sound. So, armed with this knowledge, let’s visit
the Auxiliary World:
40. AUX 1 MASTER
U
U
39
EQ
LO
At the risk of creating another standard, Mackie’s
compact mixers address the need of both crowds by calling things as they are — 0 dBu (0.775 V) at the output
shows as 0 dB VU on the meters. What could be easier?
By the way, the most wonderful thing about standards is
that there are so many to choose from.
50
60
40
50
60
OO
OO
MAIN MIX
LEVEL
SET
41. STEREO RETURNS
These two controls set the overall level of ­effects received from STEREO RETURN [7] inputs 1 and 2. These
controls are designed to handle a wide range of signal
levels, from off, to unity gain at the detent, with 20 dB
gain fully ­clockwise, to compensate for low-level effects.
Typically, these knobs can just live at the center
detent, and the effects device’s output control should
be set at whatever they call unity gain (check their
manual). If that turns out to be too loud or too quiet,
adjust the effects device’s outputs, not the mixer. That
way, the mixer’s knobs are easy to relocate at the center
detent.
Owner’s Manual
Signals passing through these STEREO RETURN level
controls will proceed directly to main mix, with one exception (see next paragraph). The STEREO RETURNs
do not have MUTE/ALT 3-4 switches, so if you want
these signals to get to the ALT 3-4 mix, you’ll have to
patch the effects device’s outputs into one of the stereo
channels, and MUTE/ALT [25] those channels.
42. RETURN TO AUX 1
If you want to add reverb or delay to the stage monitor
mixes, this is the switch for you. The implementation
leading up to the switch is the tricky part:
With the switch up, STEREO RETURN 1 and 2 behave
normally — they deliver their signals into the main mix.
With the switch down, STEREO RETURN 1 still behaves
normally, but STEREO RETURN 2 will feed AUX SEND 1
instead of the main mix.
Still with us? Good. So far, with the switch down, we
have STEREO RETURN 1 feeding the main mix and
STEREO RETURN 2 feeding AUX SEND 1. Now, suppose
you only have one effects device, and you want it to feed
both the main mix and AUX SEND 1. That’s where “jack
normalling” comes in:
JACK NORMALLING
Jack normalling (not to be confused with Jack
Normalling, Chicago Cubs utility infielder, 1952-61, .267
LBA) is a feature found on almost every mixer, keyboard
and effects device. These jacks have special springloaded pins that connect to the signal pins, but when
something is plugged into the jack, that ­connection is
broken.
These normalling pins can be used in all sorts of ways.
The ubiquitous phrase “LEFT (MONO)” means that if
you plug a signal into the LEFT side and have nothing in
the RIGHT side, that signal is also fed to the right input,
courtesy of jack normalling. As soon as you plug something in the RIGHT side, that normalled connection is
broken.
How does all this relate to the RETURN TO AUX 1
switch? STEREO RETURN 1’s inputs are normalled to
STEREO RETURN 2. If you have one effects device, plug
it into STEREO RETURN 1. Plug nothing into STEREO
RETURN 2. Now the signals feeding the STEREO RETURN 1 inputs will also be sent to the STEREO RETURN
2 inputs.
Engage the RETURN TO AUX 1 switch, and now the
STEREO RETURN 2 knob will become an additional
AUX SEND 1 knob for the signal at STEREO RETURN 1.
Say that ten times! Once again, STEREO RETURN 1 will
behave normally, as always.
Congratulations! You’ve just read about all the features of your 1402-VLZ3. You’re probably ready for a cold
one. Go ahead. The rest of the manual can wait.
Owner’s Manual
19
1402-VLZ3
Appendix A: Service Information
Warranty Service
Repair
If you think your Mackie product has a problem,
please check out the following troubleshooting tips and
do your best to confirm the problem. Visit the Support
section of our website (www.mackie.com/support)
where you will find lots of useful information such as
FAQs, documentation, and user forums. You may find
the answer to the problem without having to send your
Mackie product away.
For warranty service, refer to the warranty information on page 27.
Troubleshooting
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211, Monday-Friday, normal business hours, PST, to explain the
problem. Tech Support will tell you where the nearest
factory-authorized service center is located in your area.
Bad Channel
• Is the MUTE/ALT 3–4 switch in the correct
position?
• Is the fader turned up?
• Try unplugging any INSERT devices (Channels
1–6 only).
• Try the same source signal in another channel,
set up exactly like the suspect channel.
Bad Output
• Is the associated level knob (if any) turned up?
• If it’s one of the MAIN OUTS, try unplugging
all the others. For example, if it’s the 1⁄4"
Left Main out, unplug the RCA and XLR Left
outputs. If the problem goes away, its not the
mixer.
• If it’s a stereo pair, try switching them around.
For example, if a left output is presumed dead,
switch the left and right cords, at the mixer
end. If the problem switches sides, it’s not the
mixer.
Noise
• Turn the channel GAIN and STEREO ­RETURN
knobs down, one by one. If the sound disappears, it’s either that channel or whatever is
plugged into it, so unplug whatever that is. If
the noise disappears, it’s from your whatever.
Power
• Unplug the power cord and check the fuse.
20
1402-VLZ3
Non-warranty service for Mackie products is available at a factory-authorized service center. To locate
your nearest service center, visit www.mackie.com, click
“Support” and select “Locate a Service Center.” Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
“XLR” Connectors
Mackie mixers use 3-pin female “XLR” connectors on
all microphone inputs, with pin 1 wired to the grounded
(earthed) shield, pin 2 wired to the “high” (”hot” or
positive polarity) side of the audio signal and pin 3
wired to the “low” (“cold” or negative polarity) side of
the signal. See Figure A. This is all totally aboveboard
and in full accord with the hallowed standards dictated
by the AES (Audio ­Engineering ­Society).
Use a male “XLR”-type connector, usually found on the
nether end of what is called a “mic cable,” to connect to
a ­female XLR jack.
2
SHIELD
HOT
COLD
SHIELD
COLD 3
HOT
1
3
You can cook up your own adapter for a stereo
microphone adapter. “Y” two cables out of a
female 1⁄4" TRS jack to two male XLR plugs,
one for the Right signal and one for the Left.
• Balanced mono circuits. When wired as a balanced connector, a 1⁄4" TRS jack or plug is connected tip to signal high (hot), ring to signal
low (cold), and sleeve to ground (earth).
• Unbalanced Send/Return circuits. When wired
as send/return “Y” connector, a 1⁄4" TRS jack
or plug is connected tip to signal send (output
from mixer), ring to signal return (input back
into mixer), and sleeve to ground (earth).
1⁄4"
1
3
TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connections available on a “mono” 1⁄4" phone jack or plug. See Figure C.
1
2
SLEEVE
SLEEVE
TIP
TIP
HOT
Figure A: XLR Connectors
SLEEVE
SLEEVE
1⁄4"
TIP
SHIELD
COLD
2
Owner’s Manual
Appendix B: Connections
SLEEVE
TIP
TRS Phone Plugs and Jacks
Figure C: TS Plug
TIP
TIP
SLEEVE
“TRS” stands for Tip-Ring-Sleeve, the three
­connections available on a “stereo” 1⁄4" or ­“balanced”
phone jack or plug. See Figure B.
TS jacks and plugs areRING
used
in many
SLEEVE
SLEEVEdifferent
RING TIP
a­ pplications, always unbalanced. The tip is connected to
TIP
the audio signal and the sleeve
to ground (earth). Some
RING
examples:
TIP
• Unbalanced microphones
RING SLEEVE
SLEEVE RING TIP
SLEEVE
• Electric guitars and electronic instruments
• Unbalanced line-level connections
TIP
RING
TIP
SLEEVE
Figure B:
1⁄4"
TRS Plugs
TRS jacks and plugs are used in several ­­different applications:
• Stereo Headphones, and rarely, stereo microphones and stereo line connections.
When wired for stereo, a 1⁄4" TRS jack or plug
is connected tip to left, ring to right and sleeve
to ground (earth). Mackie mixers do not
directly accept 1-plug-type stereo micro­phones.
They must be separated into a left cord and a
right cord, which are plugged into the two mic
preamps.
Switched 1⁄4" Phone Jacks
Switches can be incorporated into 1⁄4" phone jacks,
which are activated by inserting the plug. These switches may open an insert loop in a ­circuit, change the input
routing of the signal or serve other functions. Mackie
uses switches in the channel insert and bus ­insert jacks,
input jacks and AUX returns. We also use these switches
to ground the line-level inputs when nothing is plugged
into them.
In most cases, the plug must be inserted fully to
activate the switch. Mackie takes ­advantage of this in
some circuits, specifying circumstances where you are
to insert the plug only partially. See Special Mackie
­Connections, on the next page.
Owner’s Manual
21
1402-VLZ3
RCA Plugs and Jacks
Special Mackie Connections
RCA-type plugs (also known as phono plugs) and
jacks are often used in home ­stereo and video equipment and in many other applications (Figure D). They
are ­unbalanced and electrically identical to a 1⁄4" TS
phone plug or jack (see Figure C). Connect the signal to
the center post and the ground (earth) or shield to the
surrounding “basket.”
The balanced-to-unbalanced connection has been
anticipated in the wiring of Mackie jacks. A 1⁄4" TS plug
inserted into a 1⁄4" TRS balanced input, for example,
will automatically unbalance the input and make all the
right connections. Conversely, a 1⁄4" TRS plug ­inserted
into a 1⁄4" unbalanced input will automatically tie the
ring (low or cold) to ground (earth).
SLEEVE TIP SLEEVE TIP
Figure D: RCA Plug
Unbalancing a Line
In most studio, stage and sound reinforcement situations, there is a combination of balanced and unbalanced inputs and outputs on the various pieces of
equipment. This usually will not be a problem in making
connections.
• When connecting a balanced output to an
unbalanced input, be sure the signal high (hot)
connections are wired to each other, and that
the balanced signal low (cold) goes to the
ground (earth) connection at the unbalanced
input. In most cases, the balanced ground
(earth) will also be connected to the ground
(earth) at the unbalanced input. If there are
ground-loop problems, this connection may be
left disconnected at the balanced end.
• When connecting an unbalanced output to a
balanced input, be sure that the signal high
(hot) connections are wired to each other. The
unbalanced ground (earth) connection should
be wired to the low (cold) and the ground
(earth) connections of the balanced input. If
there are ground-loop problems, try connecting
the unbalanced ground (earth) connection only
to the input low (cold) connection, and leaving
the input ground (earth) connection disconnected.
• In some cases, you will have to make up special
adapters to interconnect your equipment. For
example, you may need a balanced XLR female
connected to an unbalanced 1⁄4" TS phone
plug.
22
1402-VLZ3
TRS Send/Receive Insert Jacks
Mackie’s single-jack inserts are the three-­conductor,
TRS-type 1⁄4" phone. They are unbalanced, but have
both the mixer output (send) and the mixer input
­(return) signals in one connector. See Figure E.
tip
ring
SEND to processor
sleeve
(TRS plug)
This plug connects to one of the
mixer’s Channel Insert jacks.
“tip”
“ring”
RETURN from processor
Figure E
The sleeve is the common ground (earth) for both
signals. The send from the mixer to the ­external unit is
carried on the tip, and the return from the unit to the
mixer is on the ring.
Using the Send Only on an Insert Jack
If you insert a TS (mono) 1⁄4" plug only ­partially (to
the first click) into a Mackie ­insert jack, the plug will
not activate the jack switch and will not open the insert
loop in the ­circuit (thereby allowing the channel signal
to continue on its merry way through the mixer).
This allows you to tap out the channel or bus signal
without interrupting normal operation.
If you push the 1⁄4" TS plug in to the second click, you
will open the jack switch and create a ­direct out, which
does interrupt the signal in that channel. See Figure F
on the next page.
NOTE: Do not overload or short-circuit the signal you
are tapping from the mixer. That will affect the internal
signal.
Channel Insert jack
Direct out with no signal interruption to master.
Insert only to first “click.”
A mono signal connected to the RIGHT jack will show
up in the right bus only. You probably will only want to
use this sophisticated effect for special occasions.
MONO PLUG
Channel Insert jack
Direct out with signal interruption to master.
Insert all the way in to the second “click.”
STEREO
PLUG
Channel Insert jack
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect.)
Figure F
Mults and “Y”s
A mult or “Y” connector allows you to route one output
to two or more inputs by simply providing parallel wiring connections. You can make “Y”s and mults for the
outputs of both unbalanced and ­balanced circuits.
Owner’s Manual
MONO PLUG
A stereo signal, having two plugs, should be patched
into the LEFT (MONO) and the RIGHT input or return
jacks. A jack switch in the RIGHT jack will disable the
mono function, and the ­signals will show up in stereo.
Remember: Only mult or “Y” one output into
several inputs. If you need to combine several
outputs into one input, you must use a mixer,
not a mult or a “Y.”
Mackie Stereo Inputs and Returns: Mono,
Stereo, Whatever
Stereo line inputs and stereo returns are a fine
example of the Mackie philosophy (which we just made
up) of Maximum Flexibility with Minimum Headache.
The inputs and returns will automatically be mono or
­stereo, depending upon how you use the jacks. Here’s
how it works:
A mono signal should be patched into the input or
return jack labeled Left (MONO). The signal will be
routed to both the left and right sides of the return
circuit, and will show up in the center of the stereo pair
of buses it’s ­assigned to, or it can be “panned” with the
­Balance control.
RING (IN)
RING (RETURN)
TIP (OUT)
FROM
PROCESSOR
OUTPUT
RING
(RETURN)
TIP
(SEND)
TO MIXER
CHANNEL INSERT
TO
PROCESSOR
INPUT
TIP (SEND)
Y-cord insert cable
Y-cord splitter cable
Owner’s Manual
23
1402-VLZ3
Appendix C: Technical Information
Specifications
Maximum Levels
Mic in: +22 dBu
Main Mix Noise
Tape in: +16 dBu
All other inputs: +22 dBu
Main Mix XLR out: +28 dBu
All other outputs: +22 dBu
(20 Hz–20 kHz bandwidth, 1/4" Main out, channels 1–6 Trim @
unity gain, channel EQs flat, all channels assigned to Main Mix,
channels 1, 3 and 5 Pan left, 2, 4 and 6 Pan right.)
Main Mix fader down, channel faders down: –101 dBu
Main Mix @ unity, channel faders down: –91 dBu
(95 dB Signal to Noise Ratio, ref +4 dBu)
Main Mix fader @ unity, channel faders @ unity: –86 dBu
Total Harmonic Distortion (THD)
(1 kHz @ +14 dBu, 20 Hz–20 kHz bandwidth)
Mic pre @ insert: 0.0007%
Attenuation (Crosstalk)
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth,
Line in, 1⁄4" Main Out, Trim @ unity.)
Impedances
Mic in: 2.5 kilohms
Channel Insert return: 2.5 kilohms
All other inputs: 10 kilohms or greater
Tape out: 1.1 kilohms
All other outputs: 120 ohms
EQ
High Shelving ±15 dB @ 12 kHz
Mid Peaking
±15 dB @ 2.5 kHz
Low Shelving ±15 dB @ 80 Hz
Main Mix fader down: –100 dBu
Channel Alt / Mute switch engaged: –90 dBu
Power Consumption
Channel fader down: –90 dBu
25 watts
Frequency Response
Fuse Rating
(Mic input to any output.)
100-120V:
500 mA slo blo, 5 x 20 mm
250 mA slo blo, 5 x 20 mm
20 Hz to 60 kHz: +0 dB/–1 dB
220-240V:
20 Hz to 100 kHz: +0 dB/–3 dB
Weight
Equivalent Input Noise (EIN)
(Mic in to Insert Send out, max gain.)
Dimensions (H x W x D)
150 ohm termination: –129.5 dBu, 20 Hz–20 kHz
Common Mode Rejection Ratio (CMRR)
(Mic in to Insert Send out, max gain.)
1 kHz: better than –70 dB
9.5 lb (4.5 kg)
12.9" x 14.0" x 3.2" (329 mm x 356 mm x 81 mm)
LOUD Technologies Inc. is always striving to improve our products by incorporating new and improved materials, components,
and manufacturing methods. Therefore, we reserve the right to
change these specifications at any time without notice.
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective holders, and are hereby acknowledged.
©2006-2009 LOUD Technologies Inc. All Rights Reserved.
24
1402-VLZ3
1
3
GAIN
MACKIE 1402-VLZ3
SIGNAL FLOW
5/06
STEREO CHANNEL (1 OF 4)
LINE IN R
LINE IN L
MONO CHANNEL (1 OF 6)
LINE IN
MIC IN
2
PHANTOM POWER (GLOBAL SWITCH)
+4 /-10
75Hz
HPF
MID
HI
MID
HI
3-BAND EQ
80 2K5 12K
LO
80 2K5 12K
LO
LOW CUT
INSERT
MID
HI
PRE
FADER
R IN
STEREO RETURN 2
L IN
R IN
STEREO RETURN 1
L IN
(MONO)
PRE
FADER
3-BAND EQ
80 2K5 12K
LO
PAN
PAN
MUTE / ALT
POST
SOLO
POST
SOLO
LOGIC
PFL
AFL R
AFL L
4
3
2
1
GAIN
GAIN
RETURN TO
AUX 1
AUX SEND 1
AUX SEND 2
LOGIC
PFL
AFL R
AFL L
4
3
2
1
AUX SEND 1
AUX SEND 2
MUTE / ALT
AUX 1 PRE / POST
ALT MIX
MAIN MIX
AUX 2 MIX
AUX 1 MIX
SOLO MIX
PFL
AFL R
AFL L
MAIN FADERS
AUX 1 LEVEL
ASSIGN TO MAIN
R
L
TAPE IN
AUX 2 OUT
AUX 1 OUT
AFL (AFTER FADER LISTEN)
PFL (PRE-FADER LISTEN)
PFL LED
SOLO RELAY
MAIN
TAPE
ALT
SOURCE
ALT OUT R
ALT OUT L
CONTROL ROOM &
PHONES FADER
3
2
1
1
RUDE
SOLO
LED
20
10
7
4
2
0
2
4
7
10
20
30
TAPE OUT R
LINE OUT R
BAL OUT R
BAL OUT L
CONTROL ROOM RIGHT
PHONES OUT
CONTROL ROOM LEFT
METERING
(0dBu = 0VU)
CONTROL ROOM &
PHONES MIX
30dB PAD
3
2
LINE OUT L
TAPE OUT L
Owner’s Manual
Block Diagram
Owner’s Manual
25
AFL L
AFL R
SOLO/PFL
LOGIC
AUX 1 PRE
AUX 1 POST
AUX 2 POST
MAIN L
MAIN R
ALT L
ALT R
26
1402-VLZ3
-10dBV
C GAIN
MI
+15
+15
-15
1
MUTE
U
5
10
20
30
40
50
60
OO
5
10
20
30
40
50
60
OO
dB
10
U
SOLO
+15
+15
+15
U
+15
U
U
2
ALT 3 – 4
MUTE
L R
-15
-15
-15
OO
+15
U
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
-10dBV
C GAIN
MI
0
60
+15dB -45dB
OO
5
ALT 3 – 4
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
U
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
MIC 2
MI C PR
E
XD R
LINE IN 2
5
dB
10
+15
U
-15
L R
+15
U
U
-15
OO
+15
U
U
GAIN
0
60
+15dB -45dB
OO
U
LOW CUT
75 Hz
18dB/OCT
LINE IN 1
BAL
OR
UNBAL
MIC 1
MI C PR
E
XD R
OO
40
50
60
30
20
10
5
U
5
dB
10
+15
dB
10
+15
+15
+15
U
+15
U
U
OO
40
50
60
30
20
10
5
U
5
ALT 3 – 4
MUTE
4
MUTE
ALT 3 – 4
SOLO
-15
-15
-15
OO
+15
U
3
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
OO
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
0
60
+15dB -45dB
-10dBV
C GAIN
MI
L R
+15
+15
U
+15
U
U
AUX
U
LOW CUT
75 Hz
18dB/OCT
LINE IN 4
BAL
OR
UNBAL
MIC 4
MI C PR
E
XD R
L R
-15
-15
-15
OO
+15
U
U
GAIN
-10dBV
C GAIN
MI
0
60
+15dB -45dB
OO
U
LOW CUT
75 Hz
18dB/OCT
LINE IN 3
BAL
OR
UNBAL
MIC 3
MI C PR
E
XD R
OO
40
50
60
30
20
10
5
U
5
dB
10
+15
+15
+15
U
+15
U
U
5
ALT 3 – 4
MUTE
L R
-15
-15
-15
OO
+15
U
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
-10dBV
C GAIN
MI
0
60
+15dB -45dB
OO
U
LOW CUT
75 Hz
18dB/OCT
LINE IN 5
BAL
OR
UNBAL
MIC 5
MI C PR E
XD R
OO
40
50
60
30
20
10
5
U
5
dB
10
+15
+15
+15
U
+15
U
U
6
ALT 3 – 4
MUTE
L R
-15
-15
-15
OO
+15
U
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
-10dBV
C GAIN
MI
0
60
+15dB -45dB
OO
U
LOW CUT
75 Hz
18dB/OCT
LINE IN 6
BAL
OR
UNBAL
MIC 6
MI C PR E
XD R
OO
40
50
60
30
20
10
5
U
5
dB
10
+15
+15
U
+15
U
U
+15
+15
U
7-8
ALT 3 – 4
MUTE
L R
-15
-15
-15
OO
OO
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
OO
40
50
60
30
20
10
5
U
MUTE
ALT 3 – 4
9-10
dB
10
5
+15
+15
U
+15
U
U
+15
+15
U
L R
-15
-15
-15
OO
OO
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
LINE IN 9-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 7-8
R
BAL
OR
UNBAL
R
BAL
OR
UNBAL
L
L
AUX SEND
2
1
ALL BAL/UNBAL
MONO
RIGHT
MONO
2
1
LEFT/MONO
LEVEL
+4
-10
R
BAL
OR
UNBAL
L
MONO
+15
+15
U
+15
U
U
+15
+15
U
OO
40
50
60
30
20
10
5
U
5
dB
10
MUTE
ALT 3 – 4
11-12
L R
-15
-15
-15
OO
OO
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
LINE IN 11-12
R
L
L
+15
+15
U
+15
U
U
+15
+15
U
U
LEVEL
+4
-10
R
BAL
OR
UNBAL
L
MONO
OO
40
50
60
30
20
10
5
U
5
dB
10
ALT 3 – 4
MUTE
13-14
L R
-15
-15
-15
OO
OO
R
L
MAIN OUT
BAL/UNBAL
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
LINE IN 13-14
R
TAPE
TAPE
INPUT OUTPUT
+10
OO
40
50
60
30
20
10
5
U
5
CTL ROOM /SUBMIX
dB
10
OO
40
50
60
30
20
10
5
U
5
dB
10
NORMAL (AFL)
LEVEL SET (PFL)
PHAN TOM POWER
SOLO
MODE
ASSIGN
TO MAIN MIX
TAPE
ALT 3–4
MAIN MIX
C-R/SOURCE
OO
U
SESSION:
DATE:
RIGHT
+20
+20
U
MAIN MIX
RUDE
SOLO
LIGHT
30
20
10
7
4
2
0
2
4
7
10
20
0dB=0dBu
LEFT
OO
OO
U
LEVEL
SET
1402-VLZ3
Track Sheet
Please keep your sales receipt in a safe place.
This Limited Product Warranty (“Product Warranty”) is provided by LOUD Technologies Inc. (“LOUD”)
and is applicable to products purchased in the United States or Canada through a LOUD-authorized
reseller or dealer. The Product Warranty will not extend to anyone other than the original purchaser of
the product (hereinafter, “Customer,” “you” or “your”).
For products purchased outside the U.S. or Canada, please visit www.mackie.com/warranty to find
contact information for your local distributor, and information on any warranty coverage provided by the
distributor in your local market.
Owner’s Manual
Mackie Limited Warranty
LOUD warrants to Customer that the product will be free from defects in materials and workmanship
under normal use during the Warranty Period. If the product fails to conform to the warranty then LOUD
or its authorized service representative will at its option, either repair or replace any such nonconforming
product, provided that Customer gives notice of the noncompliance within the Warranty Period to the
Company at: www.mackie.com/support or by calling LOUD technical support at 1.800.898.3211 (tollfree in the U.S. and Canada) during normal business hours Pacific Time, excluding weekends or LOUD
holidays. Please retain the original dated sales receipt as evidence of the date of purchase. You will need it
to obtain any warranty service.
For full terms and conditions, as well as the specific duration of the Warranty for this product, please visit
www.mackie.com/warranty.
The Product Warranty, together with your invoice or receipt, and the terms and conditions located
at www.mackie.com/warranty constitutes the entire agreement, and supersedes any and all prior
agreements between LOUD and Customer related to the subject matter hereof. No amendment,
modification or waiver of any of the provisions of this Product Warranty will be valid unless set forth in a
written instrument signed by the party to be bound thereby.
Owner’s Manual
27
16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]
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