Mackie Musical Instrument 1402-VLZ3 User manual

Mackie Musical Instrument 1402-VLZ3 User 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
MIC PRE
XDR
ALL BAL/UNBAL
RIGHT
1
2
BAL
OR
UNBAL
LINE IN 1
BAL
OR
UNBAL
LINE IN 2
-10dBV
C GAIN
MI
-10dBV
C GAIN
MI
U
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
-10dBV
C GAIN
MI
U
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
AUX
U
+15
U
OO
+15
U
OO
U
OO
+15
U
EQ
AUX
+15
U
HI
12kHz
OO
-15
+15
U
MID
2.5kHz
-15
-15
-15
+15
-15
-15
PAN
-15
-15
-15
PAN
-15
-15
-15
-15
R
MAIN OUT
MONO
MONO
L
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
-15
R
R
R
R
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 9-10
AUX
U
OO
OO
-15
+15
U
-15
OO
-15
-15
+15
U
-15
OO
-15
-15
+15
U
-15
OO
-15
+15
-15
+20
LEFT
C-R/SOURCE
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
OO
EQ
MID
2.5kHz
+15
U
PAN
+10
HI
12kHz
LOW
80Hz
+15
U
U
OO
+15
U
EQ
AUX
+15
U
MID
2.5kHz
+15
U
PAN
U
OO
HI
12kHz
LOW
80Hz
+15
AUX
+15
U
EQ
LINE IN 13-14
+15
U
MID
2.5kHz
+15
U
PAN
U
OO
HI
12kHz
LOW
80Hz
+15
AUX
+15
U
EQ
LINE IN 11-12
+15
U
MID
2.5kHz
-15
MONO
LEVEL
+4
-10
HI
12kHz
+15
U
PAN
R
L
+15
U
LOW
80Hz
+15
R
MONO
+15
U
MID
2.5kHz
+15
U
PAN
OO
EQ
+15
U
LOW
80Hz
+15
U
OO
HI
12kHz
MID
2.5kHz
+15
U
AUX
+15
U
+15
U
LOW
80Hz
+15
OO
EQ
L
2
LINE IN 7-8
+15
U
HI
12kHz
MID
2.5kHz
-15
U
OO
+15
U
+15
U
LOW
80Hz
+15
PAN
-15
+15
U
LOW
80Hz
OO
EQ
AUX
+15
U
HI
12kHz
MID
2.5kHz
+15
U
LOW
80Hz
U
OO
+15
U
+15
U
MID
2.5kHz
+15
U
OO
EQ
AUX
+15
U
HI
12kHz
HI
12kHz
+15
U
U
OO
+15
U
EQ
AUX
+15
U
L
L
AUX SEND
BAL
OR
UNBAL
0
60
+15dB -45dB
OO
-15
LINE IN 5
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
BAL
OR
UNBAL
0
60
+15dB -45dB
U
-15
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
-10dBV
C GAIN
MI
U
BAL
OR
UNBAL
0
60
+15dB -45dB
OO
-15
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
U
BAL
OR
UNBAL
BAL/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
MAIN MIX
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
LEVEL
SET
1402-VLZ3
Important Safety Instructions
13. Unplug this apparatus during lightning storms or when unused for long
periods of time.
1. Read these instructions.
2. Keep these instructions.
14. 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.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with 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. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Use only with a cart, stand, tripod, bracket, or 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.
PORTABLE CART WARNING
Carts and stands - The
Component should be used
only with a cart or stand
that is recommended by
the manufacturer.
A Component and cart
combination should be
moved with care. Quick
stops, excessive force, and
uneven surfaces may cause
the Component and cart
combination to overturn.
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.
2
1402-VLZ3
15. 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.
16. 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).
17. This apparatus has been equipped with an all-pole, rocker-style AC
mains power switch. This switch is located on the rear panel and
should remain readily accessible to the user.
18. 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.
19. 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
Sound Level dBA,
Slow Response
8
90
6
92
4
95
3
97
2
100
1.5
102
1
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.
We realize that you must be dying 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.
Part No. 0019815 Rev. A
©2006 LOUD Technologies Inc. All Rights Reserved.
Printed on enviro-friendly, self-perpetuating, thinly-sliced sheets of fossilized
Albatross guano, eco-harvested from the wooded slopes of Mount Woodinville.
Date of purchase:
Owner’s Manual
3
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, addendums, and
user forums.
• Email us at: [email protected]
• Telephone 1-800-898-3211 to speak with one of our splendid
technical support representatives, (Monday through Friday,
from 7 a.m. to 5 p.m. PST).
4
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
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
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
Block Diagram................................................. 25
Track Sheet ..................................................... 26
1402-VLZ3 Limited Warranty ................................ 27
Owner’s Manual
Owner’s Manual
Contents
5
2
2
3
3
4
4
5
5
9
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
Drum
Machine
Keyboard or other
line level input
4
In
Out Stereo Compressor
In
Out
5
L
1
R
2
AUX
SEND
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
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
6
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
L
1
R
2
L
R
AUX
SEND
9
5
1
ALT 3/4
OUT
Drum
Machine
Keyboard or other
line level input
4
L
R
MAIN
OUT
L
MONO
8 R
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
7
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
-10dBV
C GAIN
MI
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
U
BAL
OR
UNBAL
U
-10dBV
C GAIN
MI
BAL
OR
UNBAL
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
U
-10dBV
C GAIN
MI
BAL
OR
UNBAL
LINE IN 5
LOW CUT
75 Hz
18dB/OCT
U
-10dBV
C GAIN
MI
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
U
-10dBV
C GAIN
MI
U
-10dBV
C GAIN
MI
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
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.
1. MIC INPUTS (Channels 1–6)
We use phantom-powered, balanced microphone
inputs just like the big studio mega-consoles, for exactly
the same reason: This kind of circuit is excellent at rejecting hum and noise. You can plug in almost any kind
of mic that has a standard XLR male mic connector.
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 line-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
L
L
L
R
R
2
R
MAIN OUT
AUX SEND
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
BAL/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: a tape recorder, PA system, etc.
8
LEFT/MONO
MIC PRE
XDR
MONO
MONO
MONO
L
L
L
L
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
5
6
MONO
R
R
R
R
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LEVEL
+4
-10
LINE IN 7-8
LINE IN 9-10
LINE IN 11-12
LINE IN 13-14
be “unseen” by dynamic mics (Shure SM57/SM58, for
instance), which don’t need external power and aren’t
affected by it anyway.
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.)
Never plug single-ended (unbalanced)
microphones or instruments into the MIC
input jacks if the PHANTOM power is on.
Do not plug instrument outputs into the
MIC input jacks with PHANTOM power on
unless you know for certain it is safe to do so.
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.
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.
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,
bassy synth patches, or recordings of earthquakes.
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
+5
+5
0
0
–5
–5
–10
–10
20Hz
100Hz
1kHz
10kHz 20kHz
20Hz
100Hz
1kHz
10kHz 20kHz
Low Cut with Low EQ
Low Cut
4. GAIN (Channels 1–6)
If you haven’t already, please read the Level-Setting
Procedure.
GAIN adjusts the input sensitivity of the mic and line
inputs connected to channels 1 through 6. This allows
signals from the outside world to be adjusted to optimal
internal operating levels.
U
-10dBV
C GAIN
MI
0
60
+15dB -45dB
If the signal originates through the
XLR jack, there will be 0 dB of gain
with the knob fully down, ramping to
60 dB of gain fully up.
Through the 1⁄4" input, there is 15
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
are inserting a very hot signal, or when you want to add
a lot of EQ gain, or both. Without this “virtual pad,” this
scenario might lead to channel clipping.
GAIN
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.
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.
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.”
6. +4/–10 LEVEL (Stereo Channels only)
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.
EFFECTS: SERIAL OR PARALLEL?
–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)
The next two sections toss the terms “serial” and
“parallel” around like hacky sacks. Here’s what we mean
by them:
“Serial” means that the entire signal is routed through
the effects device. Examples: compressor/limiters,
graphic equalizers. Line-level sources can be patched
through a serial effects device before or after the mixer,
or preferably through the insert jacks located on the
rear panel (CHANNEL INSERT [17] send/return).
Insert
Send
Insert
Return
Signal Processor
(e.g., Compressor)
Dry Signal
Processed
Signal
“Parallel” means that a portion of the signal in the
mixer is tapped off to the device (AUX SEND), processed and returned to the mixer (STEREO RETURN)
to be mixed with the original “dry” signal. This way,
multiple channels can all make use of the same effects
device. Examples: reverb, digital delay.
Aux
Send
Aux
Return
Signal Processor
(e.g., Reverb)
Output
Section
Wet Signal
Mix
Stage
Channel Path
Dry Signal(s)
Processed
Signal
Dry Signal(s)
Owner’s Manual
9
1402-VLZ3
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
7
LEFT/MONO
MIC PRE
XDR
RIGHT
1
8
7
2
BAL
OR
UNBAL
LINE IN 1
BAL
OR
UNBAL
LINE IN 2
-10dBV
C GAIN
MI
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
U
BAL
OR
UNBAL
U
-10dBV
C GAIN
MI
BAL
OR
UNBAL
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
U
-10dBV
C GAIN
MI
BAL
OR
UNBAL
LINE IN 5
LOW CUT
75 Hz
18dB/OCT
U
-10dBV
C GAIN
MI
BAL
OR
UNBAL
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
LOW CUT
75 Hz
18dB/OCT
U
-10dBV
C GAIN
MI
U
-10dBV
C GAIN
MI
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
0
60
+15dB -45dB
GAIN
GAIN
GAIN
GAIN
GAIN
GAIN
7. STEREO RETURNS
This is where you connect the outputs of your parallel effects devices (or extra audio sources). These
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 the market. The signals coming into these inputs can be adjusted using the STEREO
RETURN [41] knobs before passing onto the main mix
bus (see page 18).
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.
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.
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 10 11
ALL BAL/UNBAL
BAL/UNBAL
TAPE
TAPE
INPUT OUTPUT
1
L
L
R
R
2
L
R
MAIN OUT
AUX SEND
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
LINE IN 7-8
LINE IN 9-10
LINE IN 11-12
MONO
12
LINE IN 13-14
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
mixer levels. You can also use these with a tape or CD
player to feed music to a PA system between sets.
WARNING: Engaging both the TAPE and
ASSIGN TO MAIN MIX buttons in the CONTROL ROOM SOURCE [33] matrix can create
a feedback path between TAPE INPUT and TAPE OUTPUT. Make sure your tape deck is not in record, recordpause, or input monitor mode when you engage these
switches, or make sure the CONTROL ROOM / SUBMIX
fader [34] is fully down (off).
10. TAPE OUTPUT
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.)
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)
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.
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
10
1402-VLZ3
14
15
12. PHONES
This stereo jack will drive any standard headphone
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:
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
WARNING: When we say the headphone
amp is loud, we’re not kidding. It can cause
permanent ear damage. Even intermediate
levels may be painfully loud with some earphones. BE
CAREFUL! Always move the CTL ROOM/ SUBMIX fader
all the way down before connecting headphones. Keep
it down until you’ve put the phones on. Then turn it up
slowly. Why? “Engineers who fry their ears find themselves with short careers.”
13. XLR MAIN OUTS
These line-level outputs connect the main mix to the
outside world. Connect them to the balanced inputs of
a power amplifier or powered speakers. See page 16 for
details of the main mix.
These low-impedance outputs are fully balanced
and capable of driving +4 dBu lines with up to 28 dB
of headroom. This output is 6 dB hotter than other
outputs.
16
17
3-4 stereo bus (see MUTE/ALT 3-4 on page 13), Soloed
channels, or the Tape input. The volume is adjustable
with the CONTROL ROOM/SUBMIX [34] fader.
Owner’s Manual
13
These 1⁄4" jacks are balanced outputs capable of delivering 22 dBu into a 600 ohm balanced or unbalanced
load.
16. ALT 3–4 OUTPUT
The output here is the sum of any channels that have
the MUTE/ALT 3-4 [25] switch pressed in (see page 13
for the tender details).
These 1⁄4" jacks are balanced outputs capable of delivering 22 dBu into a balanced or unbalanced load.
17. CHANNEL INSERT (Channels 1–6 )
These rear-panel jacks are where you connect serial
effects such as compressors, equalizers, de-essers, or
filters. Since most people don’t have more than a few of
these gadgets, we’ve included inserts for just the first
six channels. If you want to use this kind of processing
on channels 7 through 14, simply patch through the
processor before you plug into the 1402-VLZ3.
The channel insert points are after the GAIN [4] and
LOW CUT [3] controls, but before the channel’s EQ
[27] controls and FADER [23]. The send (tip) is lowimpedance (120 ohms), capable of driving any line-level
device. The return (ring) is high-impedance (over 2.5 k
ohms) and can be driven by almost any device.
tip
SEND to processor
ring
sleeve
(TRS plug)
“tip”
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
This plug connects to one of the
mixer’s Channel Insert jacks.
“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
Just in case you lose the cord provided with the 1402VLZ3, its power jack accepts a standard 3-prong IEC
cord like those found on most professional recorders,
musical instruments, and computers.
Press the top of this rocker switch inwards to turn on
the mixer. The power LED on the top surface of the mixer will glow with happiness, or at least it will if you have
the mixer plugged in to a suitable live AC mains supply.
WARNING: Before you plug the AC power
cord into the 1402-VLZ3, you must make sure
that the VOLTAGE SELECTOR [20] slide
switch is set to the same voltage as your local AC mains
supply.
Press the bottom of this switch to turn off the mixer,
whenever you feel that this would be a safe thing to do.
Half-way through Mad Mike's Heavy Metal guitar solo
might not be such a good time.
WARNING: Disconnecting the plug’s ground
pin can be dangerous. Please don’t do it.
As a general guide, you should 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.
19. FUSE
The 1402-VLZ3 is fused for your (and its own) protection. If you suspect a blown fuse, disconnect the 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
stores or your dealer. If your local voltage is 220-240
VAC, use a 250 mA fuse.
If two fuses blow in a row, something is very wrong.
Please call our toll-free number 1-800-898-3211 from
within the U.S. (or call the distributor in your country)
and find out what to do.
20. VOLTAGE SELECTOR
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.
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.
12
1402-VLZ3
22. PHANTOM SWITCH
This global rocker switch controls the phantom power
supply for condenser microphones plugged into channel
MIC [1] inputs (see page 8).
Press the top of the switch inwards to engage phantom power to the six MIC inputs. Press the bottom of
the switch to turn it off.
When turned on (or off), the phantom power circuitry
takes a few moments for voltage to ramp up (or down).
This is perfectly normal.
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, while the next four are for either stereo
or mono line-level sources. (Each of the stereo channel
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…
“U” LIKE UNITY GAIN
Mackie mixers have a “U” symbol on almost every
level control. This “U” stands for “unity gain,” meaning
no change in signal level. Once you have adjusted the
input signal to line-level, you can set every control at
“U” and your signals will travel through the mixer at
optimal levels. What’s more, all the labels on our level
controls are measured in decibels (dB), so you’ll know
what you’re doing level-wise if you choose to change a
control’s settings.
U
OO
OO
AUX
+15
U
+15
U
EQ
HI
12kHz
-15
23. CHANNEL FADER
+15
U
MID
2.5kHz
-15
+15
U
LOW
80Hz
-15
+15
PAN
L R
25
24
23
MUTE
ALT 3 – 4
5
U
5
10
20
30
40
50
60
OO
These faders control the channel’s
level… from off, to unity gain, on up
to 10 dB of additional gain. Channels 1
through 6 use mono faders, and channels 7 through 14 use stereo faders,
and may feel slightly different. Not a
problem.
24. SOLO
1
dB
10
You won’t have to check it here and
check it there, as you would with some
other mixers. In fact, some don’t even
have any reference to actual dB levels
at all! Ever seen those “0–10” fader
markings? We call these AUMs (Arbitrary Units of Measurement), and they
mean nothing in the real world. You
were smart — you bought a Mackie.
SOLO
This lovable switch allows you to
hear signals through your headphones
or control room without having to
route them to the main mix or ALT 3-4
mix. You don’t even have to have the
channel’s fader turned up. Folks use
solo in live work to preview channels
before they are let into the mix, or to
just check out what a particular channel is up to anytime during a session.
You can solo as many channels at a
time as you like.
Solo is also the key player in the
Level-Setting Procedure on page 3.
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,
post-PAN, making it ideal for mixdown soloing. With the
switch down, you're in "PFL" (Pre-Fader-Listen), used
in the Level Setting Procedure.
Soloed channels are sent to the SOURCE mix, which
ultimately feeds your control room, phones and meters.
Whenever SOLO is engaged, all SOURCE selections
(MAIN MIX, ALT 3-4 and TAPE) are defeated, to allow
the soloed signal to do just that — solo!
Owner’s Manual
Channel Strip Description
25. MUTE/ALT 3–4
The dual-purpose MUTE/ALT 3–4 bus is a Mackie signature. When Greg was designing our first product, he
had to include a MUTE switch for each channel. MUTE
switches do just what they sound like they do. They turn
off the signal by “routing” it into oblivion. “Gee, what a
waste,” Greg reasoned. “Why not have the mute button
route the signal somewhere else useful… like a separate stereo bus?” So MUTE/ALT 3–4 really serves two
functions — muting (often used during a mixdown or
live show), and signal routing (for multitrack and live
work) where it acts as an extra stereo bus.
To use this as a MUTE switch, all you have to do is
not use the ALT 3–4 [16] outputs. Then, whenever you
assign a channel to these unused outputs, you’ll also be
disconnecting it from the main mix, effectively muting
the channel.
To use this as an ALT 3–4 switch, all you have to do
is connect the ALT 3–4 outputs to whatever destination
you desire. Two popular examples:
When doing multitrack recording, use the ALT 3–4
outputs to feed your multitrack. With most decks, you
can mult the ALT 3–4 outputs, using Y-cords or mults, to
feed multiple tracks. So, take ALT OUTPUT L and send
it to tracks 1, 3, 5 and 7, and ALT OUTPUT R and send it
to tracks 2, 4, 6 and 8. Now, tracks that are in Record or
Input modes will hear the ALT 3–4 signals, and tracks in
Playback or Safe modes will ignore them.
When doing live sound or mixdown, it’s often handy
to control the level of several channels with one knob.
That’s called subgrouping. Simply assign these channels
to the ALT 3–4 mix, engage ALT 3–4 in the SOURCE
[33] matrix, and the signals will appear in the control
room and headphones. If you want the ALT 3–4 signals
to go back into the main mix, engage the ASSIGN TO
MAIN MIX [37] switch, and the CONTROL ROOM/
SUBMIX fader [34] controls the levels of all channels
assigned to ALT 3–4.
Owner’s Manual
13
1402-VLZ3
Another way to do the same thing is assign the channels to the ALT 3–4 mix, then patch out of the ALT
OUTPUT L and R back into an unused stereo channel
(7–8, 9–10, 11–12, 13–14). If that’s your choice, don’t
ever engage the MUTE/ALT 3–4 switch on that stereo
channel, or you’ll have every dog in the neighborhood
howling at your feedback loop.
Another benefit of the ALT 3–4 feature is that it
can act as a “AFL” (After-Fader-Listen): just engage a
channel's MUTE/ALT 3–4 switch and the ALT 3–4 switch
in the SOURCE matrix and you’ll get that channel, all by
itself, in the control room and phones.
MUTE/ALT 3–4 is one of those controls that can bewilder newcomers, so take your time and play around with
it. Once you’ve got it down, you’ll probably think of a
hundred spiffy uses for it!
26. PAN
U
PAN adjusts the amount of channel signal sent to the left versus the
right outputs. On mono channels
(ch. 1–6 or 7–14 with connections
to the left input only) these controls
act as pan pots. On stereo channels
(7–14) with stereo connections to
L and R inputs, the PAN knob works
like the balance control on your
home stereo.
AUX
31
OO
+15
U
30
OO
+15
U
29
EQ
HI
12kHz
-15
+15
U
28
PAN determines the fate of the
main mix and ALT 3–4 mix. With
the PAN knob hard left, the signal
will feed either MAIN OUT L (bus
1) or ALT OUTPUT L (bus 3),
depending on the position of the
ALT 3–4 [25] switch. With the knob
hard right, the signal feeds MAIN
OUT R (bus 2) or ALT OUTPUT R
(bus 4).
MID
2.5kHz
-15
+15
U
27
LOW
80Hz
-15
+15
PAN
26
L R
1
MUTE
ALT 3 – 4
dB
10
SOLO
d
1
5
U
The 1402-VLZ3’s PAN controls employ a design called
“Constant Loudness.” It has nothing to do with living
next to a freeway. As you turn the PAN knob from left
to right (thereby causing the sound to move from the
left to the center to the right), the sound will appear to
remain at the same volume (or loudness).
If you have a channel panned hard left (or right) and
reading 0 dB, it must dip down about 4 dB on the left
(or right) when panned center. To do otherwise (the
way Brand X compact mixers do) would make the sound
appear much louder when panned center.
3-BAND EQ
The 1402-VLZ3 has 3-band equalization at carefully
selected points — LOW shelving at 80 Hz, MID peaking
at 2.5 kHz, and HI shelving at 12 kHz. “Shelving” means
that the circuitry boosts or cuts all frequencies past the
specified frequency. For example, rotating the LOW EQ
knob 15 dB to the right boosts bass starting at 80 Hz and
continuing down to the lowest note you never heard.
“Peaking” means that certain frequencies form a “hill”
around the center frequency — 2.5 kHz in the case of
the MID EQ.
27. LOW EQ
This control gives you
up to 15 dB boost or cut
below 80 Hz. The circuit is
flat (no boost or cut) at the
center detent position. This
frequency represents the
punch in bass drums, bass
guitar, fat synth patches,
and some really serious
male singers.
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
1kHz
10kHz 20kHz
Low EQ
+15
+10
+5
Used in conjunction with
the LOW CUT [3] switch,
you can boost the LOW EQ
without injecting a ton of
subsonic debris into the
mix.
0
–5
–10
–15
20Hz
100Hz
Low EQ with Low Cut
28. MID EQ
5
+15
10
1
20
30
40
50
60
Short for “midrange,”
+10
this knob provides 15 dB
+5
of boost or cut, centered at 0
2.5 kHz, also flat at the cen- –5
–10
ter detent. Midrange EQ
–15
is often thought of as the
20
100
1k
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
14
CONSTANT LOUDNESS ! ! !
1402-VLZ3
Hz
Hz
Hz
Hz
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
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.
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).
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
TO AUX SEND 2 LEVEL
Signal Flow Diagram
"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
1402-VLZ3
Output Section
33. CONTROL ROOM SOURCE MATRIX
X
OO
+10
OO
+20
U
OO
+20
LEFT
C-R/SOURCE
33
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
RIGHT
0dB=0dBu
20
10
MAIN MIX
7
4
ALT 3–4
38
2
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
2
TAPE
4
37
7
ASSIGN
TO MAIN MIX
35
48V
10
LEVEL
SET
20
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
MODE
POWER
CTL ROOM /SUBMIX
dB
10
36
MAIN MIX
dB
10
5
5
U
U
5
5
10
10
20
20
30
30
40
50
60
40
50
60
OO
OO
34
30
RUDE
SOLO
LIGHT
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
provides 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.
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
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.
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).
A WORD ABOUT AUX
Sends are outputs, Returns are inputs. The AUX [30]
and [31] knobs tap the signal off the channel and sends
it to the AUX SEND [8] outputs. The AUX 1 signal is
sent to the AUX 1 MASTER [40] knob before going
to the AUX SEND 1 output and the AUX 2 signal goes
directly to the AUX SEND 2 output.
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]
jacks. Then these signals are sent through the STEREO
RETURN [41] level controls, and are finally delivered to
the main mix.
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:
39. PRE/POST (AUX 1)
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.
40. AUX 1 MASTER
U
U
40
OO
+10
42
39
OO
+20
U
OO
+20
LEFT
C-R/SOURCE
41
RIGHT
0dB=0dBu
20
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.
10
MAIN MIX
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
4
ALT 3–4
2
0
2
TAPE
4
7
ASSIGN
TO MAIN MIX
10
20
NORMAL (AFL)
LEVEL SET (PFL)
SOLO
MODE
48V
18
RUDE
SOLO
LIGHT
POWER
CTL ROOM /SUBMIX
dB
10
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.
MAIN MIX
dB
10
5
5
U
U
5
5
10
10
1402-VLZ3
30
LEVEL
SET
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
Details concerning the Limited Warranty are spelled
out on page 27 of this manual.
Service for Mackie products is available at a factoryauthorized service center. Service for Mackie products
living outside the United States can be obtained through
local dealers or distributors.
If you think your 1402-VLZ3 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) 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 mixer away.
If your 1402-VLZ3 needs service, follow these instructions:
1.
Review the preceding troubleshooting suggestions.
Please.
2.
Call Tech Support at 1-800-898-3211, 7 am to 5 pm
PST, to explain the problem and request a Service
Request Number. Have your serial number ready.
You must have an Service Request Number before
you can obtain warranty service.
3.
Keep this owner’s manual and the detachable linecord. We don’t need them to repair the unit.
4.
Pack the unit in its original package, including endcaps and box. This is VERY IMPORTANT. Mackie is
not responsible for any damage that occurs due to
non-factory packaging.
5.
Include a legible note stating your name, shipping
address (no P.O. boxes), daytime phone number,
Service Request Number, a copy of your sales
receipt, and a detailed description of the problem,
including how we can duplicate it.
6.
Write the Service Request Number in BIG PRINT
on top of the box. Units sent without the SR number
will be refused.
7.
Tech Support will tell you where to ship the unit for
repair. We suggest insurance for all forms of cartage.
8.
You will need to contact the authorized service
center for their latest turn-around times. The unit
must be packaged in its original packing box, and
must have the Service Request Number on the box.
Once it’s repaired, the authorized service center
will ship it back by ground shipping, pre-paid (if it
was a warranty repair).
Troubleshooting
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.
Note: You must have a sales receipt from an authorized
Mackie dealer for your unit to be considered for
warranty repair.
Power
•
20
Note: Under the terms of the warranty, you must ship or
drop-off the unit to an authorized service center.
The return ground shipment is covered for those
units deemed by us to be under warranty.
Unplug the power cord and check the fuse.
1402-VLZ3
“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).
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).
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
Owner’s Manual
Appendix B: Connections
HOT
COLD
SHIELD
COLD 3
HOT
1
3
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
COLD
2
SLEEVE
TIP
SHIELD
TIP
TIP
HOT
Figure A: XLR Connectors
SLEEVE
Figure C: TS Plug
1⁄4"
TRS Phone Plugs and Jacks
“TRS” stands for Tip-Ring-Sleeve, the three
connections available on a “stereo” 1⁄4" or “balanced”
phone jack or plug. See Figure B.
RING SLEEVE
SLEEVE RING TIP
TIP
TS jacks and plugs are used in many different
applications, always unbalanced. The tip is connected to
the audio signal and the sleeve to ground (earth). Some
examples:
•
Unbalanced microphones
•
Electric guitars and electronic instruments
•
Unbalanced line-level connections
RING
TIP
SLEEVE
Figure B:
1⁄4"
TRS Plugs
TRS jacks and plugs are used in several different applications:
•
Switched 1⁄4" Phone Jacks
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.
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.
•
•
•
22
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.
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
SEND to processor
ring
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
Main Mix Noise
(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.)
Mic in:
+22 dBu
Tape in:
+16 dBu
All other inputs:
+22 dBu
Main Mix XLR out:
+28 dBu
All other outputs:
+22 dBu
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:
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
0.0007%
EQ
Attenuation (Crosstalk)
High Shelving
±15 dB @ 12 kHz
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth,
Line in, 1⁄4" Main Out, Trim @ unity.)
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
Channel fader down:
–90 dBu
Power Consumption
120 VAC, 50/60 Hz, 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
9.5 lb (4.5 kg)
Equivalent Input Noise (EIN)
(Mic in to Insert Send out, max gain.)
150 ohm termination:
Dimensions (H x W x D)
–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
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 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
+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
U
+15
U
U
+15
+15
U
U
2
ALT 3 – 4
MUTE
L R
-15
-15
5
ALT 3 – 4
PAN
LOW
80Hz
MID
2.5kHz
-15
5
dB
10
+15
U
-15
L R
+15
U
-15
HI
12kHz
OO
EQ
+15
OO
U
OO
AUX
+15
U
U
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
GAIN
-10dBV
C GAIN
MI
0
60
+15dB -45dB
U
0
60
+15dB -45dB
-10dBV
C GAIN
MI
LOW CUT
75 Hz
18dB/OCT
BAL
OR
UNBAL
MIC 2
MI C PR
E
XD R
LINE IN 2
OO
U
LOW CUT
75 Hz
18dB/OCT
LINE IN 1
BAL
OR
UNBAL
MIC 1
MI C PR
E
XD R
OO
OO
40
50
60
30
20
10
5
U
5
dB
10
dB
10
+15
+15
U
+15
U
U
+15
+15
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
OO
U
3
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
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
+15
+15
U
U
GAIN
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
-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
OO
40
50
60
30
20
10
5
U
5
dB
10
+15
+15
U
+15
U
U
+15
+15
U
U
5
MUTE
ALT 3 – 4
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
L R
-15
-15
-15
-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
OO
40
50
60
30
20
10
5
U
5
dB
10
+15
+15
U
+15
U
U
+15
+15
U
U
6
MUTE
ALT 3 – 4
SOLO
PAN
LOW
80Hz
MID
2.5kHz
HI
12kHz
EQ
AUX
GAIN
L R
-15
-15
-15
-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
LINE IN 7-8
LEVEL
+4
-10
R
BAL
OR
UNBAL
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
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
ASSI
GN
MAIN
IN MIX
M
TO
O MA
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.
A. LOUD Technologies Inc. warrants all materials,
workmanship and proper operation of this product for a period
of three years from the original date of purchase. If any defects
are found in the materials or workmanship or if the product
fails to function properly during the applicable warranty
period, LOUD Technologies, at its option, will repair or replace
the product. This warranty applies only to equipment sold and
delivered within the U.S. by LOUD Technologies Inc. or its
authorized dealers.
B. Failure to register online or return the product registration
card will not void the three-year warranty.
C. Service and repairs of Mackie products are to be
performed only at a factory-authorized facility (see D below).
Unauthorized service, repairs, or modification will void this
warranty. To obtain repairs under warranty, you must have a
copy of your sales receipt from the authorized Mackie dealer
where you purchased the product. It is necessary to establish
the purchase date and determine whether your Mackie
product is within the warranty period.
D. To obtain factory-authorized service:
1. Call Mackie Technical Support at 800/898-3211, 7 AM to
5 PM Monday through Friday (Pacific Time) to get a Service
Request Number. Products returned without a Service Request
Number will be refused.
2. Pack the product in its original shipping carton. Also include
a note explaining exactly how to duplicate the problem, a
copy of the sales receipt with price and date showing, and
your return street address (no P.O. boxes or route numbers,
please!). If we cannot duplicate the problem or establish the
starting date of your Limited Warranty, we may, at our option,
charge for service time.
3. Ship the product in its original shipping carton, freight
prepaid to the authorized service center. The address of your
closest authorized service center will be given to you by
Technical Support.
IMPORTANT: Make sure that the Service Request Number is
plainly written on the shipping carton.
No receipt: no warranty service.
E. LOUD Technologies reserves the right to inspect any
products that may be the subject of any warranty claims before
repair or replacement is carried out. LOUD Technologies may,
at our option, require proof of the original date of purchase in
the form of a dated copy of the original dealer’s invoice or sales
receipt. Final determination of warranty coverage lies solely
with LOUD Technologies.
F. Any products returned to one of the LOUD Technologies
factory-authorized service centers, and deemed eligible for
repair or replacement under the terms of this warranty will
be repaired or replaced within thirty days of receipt. LOUD
Technologies and its authorized service centers may use
refurbished parts for repair or replacement of any product.
Products returned to LOUD Technologies that do not meet
the terms of this Warranty will not be repaired unless
payment is received for labor, materials, return freight,
and insurance. Products repaired under warranty will be
returned freight prepaid by LOUD Technologies to any
location within the boundaries of the USA.
G. LOUD Technologies warrants all repairs performed
for 90 days or for the remainder of the warranty period.
This warranty does not extend to damage resulting from
improper installation, misuse, neglect or abuse, or to
exterior appearance. This warranty is recognized only if
the inspection seals and serial number on the unit have not
been defaced or removed.
H. LOUD Technologies assumes no responsibility for the
quality or timeliness of repairs performed by an authorized
service center.
I. This warranty is extended to the original purchaser and to
anyone who may subsequently purchase this product within
the applicable warranty period. A copy of the original sales
receipt is required to obtain warranty repairs.
J. This is your sole warranty. LOUD Technologies does
not authorize any third party, including any dealer or
sales representative, to assume any liability on behalf of
LOUD Technologies or to make any warranty for LOUD
Technologies Inc.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE
SHALL BE STRICTLY LIMITED IN DURATION TO THREE
YEARS FROM THE DATE OF ORIGINAL PURCHASE
FROM AN AUTHORIZED MACKIE DEALER. UPON
EXPIRATION OF THE APPLICABLE WARRANTY PERIOD,
LOUD TECHNOLOGIES INC. SHALL HAVE NO FURTHER
WARRANTY OBLIGATION OF ANY KIND. LOUD
TECHNOLOGIES INC. SHALL NOT BE LIABLE FOR ANY
INCIDENTAL, SPECIAL, OR CONSEQUENTIAL DAMAGES
THAT MAY RESULT FROM ANY DEFECT IN THE MACKIE
PRODUCT OR ANY WARRANTY CLAIM. Some states do
not allow exclusion or limitation of incidental, special,
or consequential damages or a limitation on how long
warranties last, so some of the above limitations and
exclusions may not apply to you. This warranty provides
specific legal rights and you may have other rights which
vary from state to state.
Owner’s Manual
Owner’s Manual
1402-VLZ3 Limited Warranty
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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