Mackie 402-VLZ3 Rental Manual
402-VLZ3
4-Channel Premium Mic/Line Mixer
OWNER’S MANUAL
402-VLZ3
1.
2.
3.
4.
5.
6.
7.
Important Safety Instructions
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
2
Read these instructions. Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with a dry cloth.
Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
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.
Do not overload wall outlets and extension cords as this
can result in a risk of fire or electric shock.
Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
Only use attachments/accessories specified by the
manufacturer.
Use only with a cart, stand, tri- PORTABLE CART
WARNING
pod, 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.
Unplug this apparatus during lightning storms or when
unused for long periods of time.
Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply 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.
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.
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.
402-VLZ3
18.The MAINS plug or an appliance coupler is used as the
disconnect device, so the disconnect device shall remain
readily operable.
19. 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.
WARNING — To reduce the risk of fire or electric shock, do
not expose this apparatus to rain or moisture.
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.
Duration
Per Day
in hours
Sound Level
dBA, Slow
Response
Typical Example
8
90
Duo in small club
6
92
4
95
3
97
2
100
1.5
102
1
105
0.5
110
0.25 or
less
115
Subway Train
Very loud classical
music
Dave screaming at
Steve about deadlines
Loudest parts at a
rock concert
Contents
IMPORTANT SAFETY INSTRUCTIONS..........2
READ THIS PAGE!......................................4
INTRODUCTION........................................5
HOOKUP DIAGRAMS................................6
FEATURES.................................................12
1. POWER SWITCH.............................13
2. POWER CONNECTION.....................13
3. MIC INPUTS (CH.1–2).....................13
4. LINE INPUTS (CH.1–2)....................13
5. LOW CUT (CH.1–2).........................13
6. INSTRUMENT SWITCH (CH.1–2) .....14
7. GAIN (CH.1–2) ..............................14
8. HI EQ.............................................14
9. LOW EQ.........................................14
10. STEREO PAN SWITCH (CH.1–2).......15
11.LEVEL.............................................15
12. OL LED...........................................15
13. MAIN OUTS....................................15
14. STEREO LINE INPUTS (CH.3–4)........15
15. TAPE ASSIGN TO MAIN...................16
16. TAPE LEVEL.....................................16
17. TAPE INPUT....................................16
18. TAPE OUTPUT.................................16
19.PHONES.........................................16
20. PHANTOM POWER SWITCH.............16
21. PHONES LEVEL................................17
22. MAIN MIX......................................17
23. POWER LED....................................17
24. METERS..........................................17
APPENDIX A: SERVICE INFORMATION........18
APPENDIX B: CONNECTIONS.....................19
APPENDIX C: TECHNICAL INFORMATION....20
402-VLZ3 LIMITED WARRANTY.................23
Owner’s Manual
20. 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.
21. 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:
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, make dad proud, etc.)
Purchased at:
Date of purchase:
Part No. SW0634 Rev. D 08/12
©2007-2012 LOUD Technologies Inc. All Rights Reserved.
Owner’s Manual
3
402-VLZ3
Read This Page!
We realize that you must
be anxious to try out
your new 402-VLZ3. All
we ask is that you read
this page now, and the
rest can wait until you’re good and ready. But
do read it — you’ll be glad you did.
Adjusting input levels
It’s not even necessary to hear what you’re
­doing to set o­ ptimal levels. But if you’d like
to: Plug headphones into the phones jack,
then set the phones knob just a little bit up.
The following steps must be performed for
channel 1 and 2:
1. Turn the gain and level knobs fully
down (counterclockwise).
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 402-VLZ3.
3. Adjust the input levels.
4. Connect cords from the main outputs
to the inputs of your amplifier.
5. Hook up speakers to the amplifier and
turn it on.
6. Turn up the channel 1 level knob to
the center and the main mix knob one
quarter of the way up.
7. Sing like a canary!
2. Set the EQ knobs at the center.
8. Turn down the channel 3-4 level knob.
3. Connect the signal source to the input
of channel 1.
9. Plug your keyboard into stereo channel
3-4.
4. Play something into channel 1. This
could be an instrument, a singing or
speaking voice, or a line input such
as from 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 might have
to readjust these levels during the
middle of the set.
10.Play the keyboards and sing a little,
and adjust the channel 3-4 level knob
to add the keyboard to the vocals.
5. Adjust the gain control so that the OL
LED does not come on very often, if at
all, even during the loudest parts of
your program.
6. If you’d like to apply some EQ, do so
now and repeat step 5.
7. Repeat for channel 2 if required.
4
Instant Mixing
402-VLZ3
11.Play like a madman and sing like a
canary! It’s your first mix!
Other Notes
For optimum sonic performance, the
channel level knobs and the main mix knob
should be set near the “U” (unity gain)
markings.
Always turn the main mix control down
before making connections to and from your
mixer.
If you shut down your equipment, turn
off your amplifier or powered speakers first.
When powering up, turn them on last.
Save the shipping box! You may need it
someday.
Thank you for choosing a Mackie professional compact mixer. The 402-VLZ3
is equipped with our precision-engineered
XDR2TM Extended Dynamic Range premium
studio-grade mic preamp.
The small size of this mixer and the quality of its design make it an ideal choice
for recording, sound reinforcement, multimedia use, or post-production work.
The Mackie VLZ3 series of mixers consist
of the 802, 1202, 1402, 1642, and 1604-VLZ3.
We had a few of these high quality channels
left over in engineering, so we decided to put
them to good use in the 402-VLZ3. Some of
the features include:
• 2 mono mic/line channels and 1 stereo
line-level channel
• 2-band EQ on mono channels
• Instrument input switches on channels
1 and 2
• Stereo pan button allows mono channels to be used in either summed
mono or discrete stereo operation
How To Use This Manual
Since many of you folks will want to hook up your 402-VLZ3 immediately, the first pages you will encounter after this
introduction are the ever-popular hookup
diagrams. These show typical mixer setups
for various applications.
After this ­section is a ­detailed tour of the entire mixer, where you will 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.
This icon marks infor­mation that is
critically ­important or unique to the
402-VLZ3.
This icon will lead you to ­­­in-depth
explanations of ­features and some
practical tips.
Appendix A is a section on troubleshooting and service information.
Appendix B is a section on connectors.
Appendix C shows the technical specifications, and a block diagram.
Owner’s Manual
Introduction
• Mix bus allows monitoring of any combination of main mix and tape
input
• Low-cut filter and overload LED on mic channels
• Separate main mix and phones outputs
with individual volume controls
• DJ Style “cueing” of the tape input
using the “Assign to Main” button
• Tape input and output with analog
RCA connectors
• Solid and stylish mechanical design
• Optional mic stand adapter (see p.22)
Owner’s Manual
5
402-VLZ3
Hookup Diagrams
Acoustic
Guitar
Condenser
microphone
SRM150 powered
personal monitor
SRM350v2
Powered
Speaker
Laptop
iPodTM Docking Station
This diagram shows a microphone connected to channel 1's mic input, with the
phantom power switch pressed in. A guitar is attached to the instrument input of
channel 2, with the instrument switch pressed in.
An iPodTM docking station is connected to the line-level inputs of channels 3 and
4, so you can play to a pre-recorded backing track, or play music during the breaks
caused by drinking too many free lattés. You may need two 1/4" to RCA adapters to
make these connections.
The tape outputs are connected to the line-level stereo inputs of a laptop's sound
card. This allows you to record the entire performance using the DAW of your choice.
The mic and guitar are panned mono, so the same mix is coming out of the main
left and right outputs, and each can be used for a monitor or a front-of-house loudspeaker as follows:
The left main mix output connects to an SRM150 powered personal monitor. This is pointed at the performer (the fabulous you).
The right main mix output feeds the input of an SRM350v2 powered loudspeaker
playing to your appreciative, jittery, hepped-up-on-the-bean audience. Jump quickly
from one song to another, and keep the poetry about the Washington State Rain
Festival (Jan 1st–Dec 31st) to a minimum.
Seattle Coffeehouse Gig
6
402-VLZ3
Electric
Guitar
Amplifier
modeler
Owner’s Manual
Condenser
microphone
HR624mkII
Studio Monitors
Analog Synth
Headphones
Main Mix
Level
Main Mix
Laptop
Meters
Tape out
Assign to Main
Phones
Level
Tape input
Main out
Phones
output
Tape Level
This diagram shows a condenser microphone connected to channel 1's mic input,
with the phantom power switch pressed in.
The line-level output from a popular guitar amplifier modeler feeds the line input of
channel 2.
A stereo synth connects to the line inputs of channels 3 and 4.
A laptop computer running the DAW of your choice is connected to the tape input
and output.
A pair of headphones allows you to hear the main mix as you play.
A pair of studio reference monitors is connected to the main mix outputs.
For a recording session example, you can record the vocals, guitar and keyboards.
These can be recorded as individual tracks, and you can listen directly through the
headphones. If you are recording through the mic, listen through the headphones
only, and turn off power to your loudspeakers. (The main mix level still needs to be
up, so you can record the tape out.)
For overdubbing, you will be playing live, and recording a new track onto the
computer through the tape outputs. You can listen to the pre-recorded tracks and your
live playing at the same time in the headphones. Adjust the tape level to find a nice
mix of the playback compared to your playing. If the "assign to main" is out, then the
pre-recorded tracks will not appear in the tape out or main mix, so only your new
playing is recorded.
To playback the recording, adjust the tape level control to hear it in the headphones. Press "assign to main" in, and slowly bring up the main mix level to hear the results of all your efforts in the studio monitors.
Recording with a Computer
Owner’s Manual
7
402-VLZ3
Stereo microphone
Headphones
Location
recorder
This diagram shows the outputs of a stereo microphone connected to the mic inputs of channels 1 and 2. The stereo pan switch is pressed in, so channel 1 goes only to the left of the main mix, and channel 2 goes to the right.
The tape output is connected to a location recording device, with a set of headphones attached. It is best to keep the headphones on the last device in your recording chain (the recording device). Many flash-based digital devices are available.
Set the main mix output level control to unity (U) and use the recorder's own level control to adjust the levels going to the recorder. Each channel from your microphone can be adjusted with the channel level controls. Keep them at the same level to retain the true balance from your microphone.
Location Sound
8
402-VLZ3
Synth 2
Synth 1
Owner’s Manual
Dual DI Box
Headphones
Effects/ Sampler
Stage Snake
Keyboard submix to
front-of-house
mixer
This diagram shows the stereo outputs of a synth connected to the line inputs of
channels 1 and 2. The stereo pan switch is pressed in, so channel 1 only goes to the
left of the main mix, and channel 2 only goes to the right.
Another stereo synth is connected to the line-level inputs of channels 3 and 4.
An effects/sampler is connected to the tape input and tape output. The "assign to
main" switch is pressed in during playback, so the output from the effects/sampler
will appear in the main mix. Leave the switch out when capturing sounds.
The line-level main mix output connects to the inputs of a dual DI box. This converts
the output so it is suitable for connecting to the inputs of a stage snake connected to
the inputs of the front of house mixer.
A pair of headphones allows you to hear the main mix as you play. Between songs,
you can turn down the main output to the FOH mixer, and experiment with sounds
and new patches and still listen in the headphones without upsetting your audience.
Keyboard Submixer
Owner’s Manual
9
402-VLZ3
Broadcast
Microphones
HR624mkII
Studio Monitors
Desktop computer
running Final CutTM
Laptop running
sound effects
software
Video out
DV Player
Video Monitor
This diagram shows two voice-over microphones connected to the mic inputs of
channels 1 and 2.
The stereo line-level output from a digital video player connects to the line inputs of
channels 3 and 4.
A laptop running sound effect software is connected to the tape input. The "assign
to main" switch is pressed in, so the sound effects can be added to the main mix.
The tape output connects to the line-level audio input of a desktop computer running Final Cut software.
The main outputs feed a pair of powered studio reference monitors.
Video Editing/Production Bay
10
402-VLZ3
Condenser
microphone
Amplifier
modeler
TV Set
Electric
Guitar
Laptop for
recording
Ch.1 and 2
Headphones
Cable box
DVD Player
Owner’s Manual
HR624mkII
Studio Monitors
video 1
video 2
This diagram shows how you can use the mixer to control a home studio and a
home theater, using the same set of loudspeakers. This is useful if you are short on
space, or you are in love with a really nice pair of loudspeakers and want to share
them between your home theater and home studio.
A condenser microphone is connected to channel 1's mic input, with phantom
power engaged. The line-level output from a guitar amplifier modeler feeds the line
input of channel 2.
A laptop computer running the DAW of your choice is connected to the tape output,
so you can record channels 1 and 2.
The stereo line-level audio output from a cable box is connected to the tape inputs,
and the video output from the cable box connects to the TV monitor. If you press "assign to main," the audio will be added to the main mix.
The stereo line-level audio output from a DVD player is connected to the line inputs
of channels 3 and 4, and the video output connects to the TV monitor.
A pair of headphones allows you to hear the main mix.
To use the home studio, sing and play your guitar, and record using your DAW, or
listen through the nice speakers. Turn down channels 3 and 4, and do not assign the
tape inputs to the main mix from the cable box.
To use the home theater, turn down channels 1 and 2. Select a program using the
cable box, and assign the tape inputs to the main mix. Listen to the audio in your nice
speakers. If you play a DVD, adjust channels 3 and 4, and turn off the "assign to
main" switch. Select the DVD video with your TV set.
Combined Home Studio/Home Theater
Owner’s Manual
11
402-VLZ3
Features
2
1
3
13
4
5
6
14
17
18
19
7
8
9
10
15
20
16
21
22
11
12
402-VLZ3
12
23
24
Press the top of this rocker switch inwards
to turn on the mixer. The power LED [23] on
the top surface of the mixer will glow with
happiness. Press the bottom of this switch to
put the mixer into standby mode. It will not
function, but the circuits are still live. To remove power, either turn off the mains
supply, or unplug the power cord from the
mixer and the mains supply.
As a general guide, 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.
2. POWER CONNECTION
This is where you plug in the connector
from the AC adapter supplied with your
mixer.
Only use the AC adapter that came with
your mixer, or a factory-authorized power
supply.
3. MIC INPUTS (Ch.1–2)
We use phantom-powered, balanced
­ icrophone inputs just like the big studio
m
mega-consoles, for ­exactly the same reason:
This kind of circuit is­e­ xcellent 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 402-VLZ3’s mic
inputs will handle any kind of mic level you
can toss at them, without overloading.
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 be “unseen” by dynamic mics
(Shure SM57/SM58, for instance), which
don’t need ­external power and aren’t affected by it anyway.
The phantom power for both channels 1
and 2 is turned on and off together using the
phantom [20] switch.
Never plug s­­ ingle-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.
Do not use phantom power with ribbon
microphones.
4. LINE INPUTS (Ch.1–2)
These 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 audio signal
you’ll come across.
To connect balanced lines to these inputs,
use a 1⁄4" Tip-Ring-Sleeve (TRS) plug.
To connect unbalanced lines to these
­inputs, use a 1⁄4" mono (TS) phone plug or
standard ­instrument cable.
These two line inputs are a good place to connect older instruments that need more gain. You can correct weak levels by
adjusting the channel’s gain control [7].
Owner’s Manual
1. POWER SWITCH
5. LOW CUT (Ch.1–2)
Each low-cut switch, often referred to as a
high-pass filter (all depends on how you look
at it), cuts bass frequencies below 100 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
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. Applying low-cut
­removes all those problems, so you can add
low EQ without losing a woofer.
Owner’s Manual
13
402-VLZ3
6. INSTRUMENT SWITCH (Ch.1–2)
When this switch is pressed in, channel 1 or 2's line input can accept direct instrument-level signals from guitars
or other instruments. They will be
impedance-matched to the line input, without the need for a DI box.
When this switch is out, you can connect
line-level sources such as CD players,
MP3 players, keyboards, drum machines,
and tape players. You will need a DI box if
connecting instrument-level signals to the
inputs of channel 3 and 4.
Direct-In (DI) boxes are commonly
available from most music stores.
They provide signal and impedance matching for the direct connection of guitars and other instruments
to amplifiers and mixers. They convert
unbalanced instrument-level signals to a
balanced mic-level output. Normally, they
just look like a funny little box with a 1/4"
TS input at one end, and an XLR output at
the other. The good thing is that you do not
need them with the 402-VLZ3.
7. LET'S TWIST A GAIN (Ch.1–2)
If you haven’t already,
please read the input level
adjustment procedure on
page 4.
Gain adjusts the input
sensitivity of the mic and
line inputs connected to channels 1 and 2.
This allows signals from the outside world
to be adjusted to optimal internal operating
levels.
If the signal comes 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.
“U” LIKE UNITY GAIN
Mackie mixers have a “U” symbol on
almost every level control. This “U” stands
14
402-VLZ3
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.
2-BAND EQUALIZATION
The 402-VLZ3 has 2-band equalization at
carefully selected points — low shelving at
80 Hz, and hi shelving at 12 kHz. “Shelving”
means that the circuitry boosts or cuts all
frequencies past the s­ pecified 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.
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 3 dB 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).
8. HI EQ
+15
This control
+10
gives you up to
+5
15 dB boost or
0
cut above 12 kHz, –5
and it is also flat –10
at the center. Use –1520
100
1k
10k 20k
it to add sizzle
High EQ
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.
Hz
Hz
Hz
Hz
Hz
9. 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 position. This frequency
12. OL LED
+15
+10
+5
0
–5
–10
–15
20Hz
100Hz
1kHz
10kHz 20kHz
1kHz
10kHz 20kHz
Low EQ
+15
+10
+5
0
–5
–10
This overload LED will come on if the
input signal is too high. The signal level is
measured just before the level control, but
after the gain control and EQ.
If the OL LED does come on, turn down
the gain and/or the EQ controls until this
will only come on occasionally when the
input source is running high. Turning the
level control will not affect the OL LED.
–15
20Hz
100Hz
Low EQ with Low Cut
10. STEREO PAN SWITCH (Ch. 1–2)
With this switch out, each mono channel
feeds both the left and right sides of the
main mix equally. For example:
• Playing a mono source: If you talk into
a microphone connected to input 1,
your sweet tones will be heard in both
the left and right loudspeakers.
• Overdubbing a mono source: if you
are monitoring directly through the
headphones, you can hear the overdub
signal in both ears while you are playing.
With this switch pressed in, channel 1 will play only in the left side of the main mix,
and channel 2 will play in the right side. For example:
• Recording a stereo source: If you have
a stereo microphone connected to
the mic inputs, or if you are playing a
stereo source into the line inputs, each
side of the source can be recorded
discretely onto a recorder connected to the main or tape outputs.
The pan switch does not affect channels 3 or 4, or the tape inputs.
11. LEVEL
This adjusts the channel’s level from off,
to unity gain at the center, on up to 12 dB of
additional gain. Once the gain [7] has been
adjusted for each channel, use the level to
adjust how much of each channel appears in
the main mix.
Channels 1 and 2 use mono level controls,
and channels 3 and 4 uses a stereo control.
13. MAIN OUTS
These outputs feed the main mix out into
the waiting world. They can be connected
to the line-level inputs of power amplifiers,
powered speakers, or to the line inputs of
another mixer.
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
Owner’s Manual
range represents
the punch in bass
drums, bass guitar,
fat synth patches,
and some really serious male singers.
Used in conjunction with the low
cut [5] switch, you
can boost the low
EQ without injecting
a ton of subsonic
debris into the mix.
For most music recording and PA applications, unbalanced lines are fine. To drive unbalanced inputs, connect 1⁄4" TS (Tip–Sleeve) phone plugs like this:
Tip = + (hot)
Sleeve = Ground
14. STEREO LINE INPUTS (Ch.3–4)
These fully-balanced inputs are designed
for ­stereo or mono, balanced or unbalanced
signals. They can be used with just about any
professional or semi-pro ­instrument, effect
or tape player.
Signals entering channel 3 are added to
the left side of the main mix only. Signals
entering channel 4 are added to the right.
When connecting a mono device, always
use the left (mono) input (ch. 3) and plug
nothing into the right input (ch. 4)— this
way the signal will appear on both sides. This trick is called “jack normalling.”
Owner’s Manual
15
402-VLZ3
15. TAPE ASSIGN to MAIN
18. TAPE OUTPUT
Press this switch in to add the tape input
to the main mix.
Press it out if you do not want the tape
input to play in the main mix. This allows
DJ-style cueing of the tape input in your
headphones before it is added to the main
mix for your audience.
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.
The output here is an unbalanced copy of
the main mix, and it is affected by the main
mix level [22].
Main Mix
Level
Main Mix
Meters
Tape out
Assign to Main
Phones
Level
Tape input
Main out
Phones
output
Tape Level
This also allows for overdubbing with the
tape inputs/outputs without experiencing
feedback, and it maintains isolation of your
audio tracks. For example, you could be
feeding the pre-recorded tracks from a
computer into the tape inputs. Leave "assign to main" out so you can hear the
pre-recorded tracks in the headphones,
as you play along to them. Only your live
performance will be recorded from the tape
outputs, not the pre-recorded tracks. Press
"assign to main" in if you want to play the
completed songs in your main loudspeakers.
16. TAPE LEVEL
Use this to adjust the level of the tape input playing in the main mix and headphones.
17. TAPE INPUT
16
These dual, unbalanced RCA inputs
accept line-level stereo signals. The signals
entering the inputs are always routed to the
phones output, and can be routed to the
main output, depending on the position of
the “assign to main” button.
Use these jacks for convenient playback of
your mixes. You’ll be able to review a mix and
then try another pass without repatching
or disturbing the mixer levels. You can also
use these jacks with an iPod dock, computer
line-level audio output, or DVD player to
feed ­music to a PA system between sets.
Use the "assign to main" switch [15] to
add the tape input to the main mix, and use
the tape level knob [16] to adjust its level.
402-VLZ3
19. PHONES
This stereo jack will drive any standard
headphone to very loud levels. iPod-type or
computer headphones can also be used with
an appropriate adapter.
If you’re wiring your own cable for the headphones output, follow ­standard
conventions:
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
In the headphones, you will hear the main
mix as well as any source playing in the
tape inputs [17]. Adjust the phones level
[21] knob for comfortable and safe listening
levels in your headphones. See the warning
on the next page before using headphones.
Adjusting the main mix level [22] will
not affect the headphone output. Adjusting
the tape level [16] will affect the level of the
tape input signal heard in the headphones.
20. PHANTOM POWER SWITCH
This global switch controls the phantom
power supply for condenser microphones
plugged into channel 1 and 2 mic [3] inputs.
Press this in if your microphone requires
phantom power. (The mixer can supply
the microphone's power through the XLR
connectors, using the same lines used for
the audio.) Check with the microphone
manufacturer if you are not sure. See the
phantom power discussion on page 13 before using this switch.
Press the switch in to engage phantom
power to both mic inputs. The phantom LED
next to the switch will light when phantom is
engaged. Press the switch again to turn it off.
24. METERS
This knob allows you to adjust the level of
the signals going to your headphones.
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 headphones.
BE CAREFUL! Always turn the phones
knob all the way down before connecting
headphones, or making any connections to
the mixer. Keep it down until you’ve put the
phones on. Then turn it up slowly.
The 402-VLZ3’s peak metering system is made up of two columns of eight LEDs. It displays the signal level after the main mix level control [22].
Thanks to the 402-VLZ3’s wide dynamic
range, you can get a good mix with peaks
flashing anywhere between –12 and +8 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 “+8”.
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).
Congratulations! You’ve just read about all the features of your 402-VLZ3. You’re
probably ready for a cold shower. Go ahead.
22. MAIN MIX
This knob controls the levels of signals
sent to the main outputs. All channels that
are not turned fully down will wind up in the
main mix.
Fully counterclockwise is off, the center
is unity gain, and fully clockwise ­provides
12 dB ­of additional gain. This additional
gain will typically never be needed, but once
again, it’s nice to know it’s there.
This is the knob to turn down at the end of
the song to achieve "The Great Fade-Out."
Owner’s Manual
21. PHONES LEVEL
23. POWER LED
This LED will illuminate when the mixer
is turned on. It shows a general readiness of
the mixer to do something wonderful to your
musical world.
If the power switch [1] is off, or the power
to the unit is turned off, then the LED will
be off.
Owner’s Manual
17
402-VLZ3
Appendix A: Service Information
If you think your 402-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, and documentation. You may
find the answer to the problem without having to send your mixer away.
Troubleshooting
Bad Channel
• Is the gain set correctly?
• Is the level knob turned up?
• Is the instrument switch set correctly?
(Channels 1–2 only).
• Try the same source signal in another
channel, set up exactly like the suspect channel.
• Check that the stereo pan switch is set correctly.
• Check the EQ and the low-cut switch.
Power
• The power LED on the mixer should
come on when the power switch is on.
Check that the power connection to
the mixer is plugged in.
Repair
For warranty service, refer to the warranty
information on page 23.
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.
If you do not have access to our website,
you can call our Tech Support department
at 1-800-898-3211, Monday-Friday during
normal business hours, Pacific Time, to explain the problem. Tech Support will
tell you where the nearest factory-authorized
service center is located in your area.
Bad Output
• Is the associated level knob (if any)
turned up?
• If it’s a left main out, try unplugging
the RCA left tape output. If the problem goes away, its not the mixer.
• If a left speaker is presumed dead,
switch the left and right cords, at the
mixer's main outs. If the left speaker is still not working, it’s not the mixer.
Noise
• Turn the channel level 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.
18
402-VLZ3
Need help with your new mixer?
• Visit www.mackie.com and click Support
to find: FAQs, manuals, and addendums.
• Email us at: [email protected]
• Telephone 1-800-898-3211 to speak with
one of our splendid technical support
representatives (Monday-Friday, during
normal business hours, Pacific Time).
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.
2
SHIELD
HOT
COLD
SHIELD
COLD 3
HOT
1
3
1
2
SHIELD
COLD
2
You can cook up your own adapter for a
stereo microphone. “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.
1⁄4"
1
3
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.
TS Phone Plugs
“TS” stands for Tip-Sleeve, the two connections available on a “mono” 1⁄4" phone jack or plug. See Figure C.
SLEEVE
HOT
Figure A: XLR Connectors
1⁄4"
SLEEVE
TRS Phone Plugs
TIP
TIP
TIP
“TRS” stands for Tip-Ring-Sleeve, the
SLEEVE
three c­ onnections available on a “stereo”
1⁄4" or ­“balanced” phone jack or plug. See
Figure B.
RING SLEEVE
TIP
TIP
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.
SLEEVE
SLEEVE
Owner’s Manual
Appendix B: Connections
SLEEVE RING TIP
TIP
SLEEVE
Figure C: TS Plug
TS jacks and plugs are used in many difRING SLEEVE
SLEEVE RING TIP
ferent ­applications, always
unbalanced.
The
tip is connected to the audio
signal and the
TIP
sleeve to ground (earth). Some examples:
RING
TIP
• Unbalanced microphones
• Electric guitars and electronic instruments
SLEEVE
• Unbalanced line-level connections
TIP
RING
TIP
SLEEVE
Figure B: 1⁄4" TRS Plugs
TRS jacks and plugs are used in several
­­different applications:
• 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).
• 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).
RCA Plugs and Jacks
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 (Figure C). Connect the signal to the center post and the ground (earth) or shield to the surrounding “basket.”
SLEEVE TIP SLEEVE TIP
Figure D: RCA Plug
Owner’s Manual
19
402-VLZ3
Appendix C: Technical Information
Specifications
Main Mix Noise
Impedances
(20 Hz–20 kHz bandwidth, 1/4" main out, channels 1–2 gain @ unity, channel EQs flat, stereo-pan button in.
Main mix knob down, channel level knobs
–103 dBu
down:
Main mix knob unity, channel level knobs
down: –98 dBu
(102 dB Signal to Noise Ratio, ref +4 dBu)
Main mix knob @ unity, and channel level
knobs @ unity: –92 dBu
Mic in: All other inputs: Tape out: Phones output: All other outputs:
Total Harmonic Distortion (THD)
Power Consumption
(1 kHz @ 35 dB gain)
20 Hz–80 kHz bandwidth <0.005%
20 Hz–20 kHz bandwidth <0.003%
8 watts
Attenuation (Crosstalk)
(1 kHz relative to 0 dBu, 20 Hz–20 kHz bandwidth, line in, 1⁄4" main out, gain @ unity.)
Main mix knob down: –70 dBu
Channel level knob down: –94 dBu
Frequency Response
(Mic input to any output.)
20 Hz to 50 kHz: +0 dB/–1 dB
20 Hz to 90 kHz: +0 dB/–3 dB
Equivalent Input Noise (EIN)
(Mic in to main out, max gain.)
150 ohm termination: –129.5 dBu
20 Hz–20 kHz
Common Mode Rejection Ratio (CMRR)
1 kHz: better than –70 dB
Maximum Levels
Mic in: Tape in: All other inputs: All outputs: +21 dBu
+24 dBu
+22 dBu
+22 dBu
3.4 kilohms
10 kilohms or greater
1.0 kilohms
60 ohms
120 ohms
EQ
High Shelving
Low Shelving ±15 dB @ 12 kHz
±15 dB @ 80 Hz
(H x W x D)
7.3" x 5.8" x 1.6" (185.5 mm x 146.9 mm x 40.7 mm)
Weight
With power supply Without power supply
3.0 lb (1.36 kg)
2.5 lb (1.1 kg)
LOUD Technologies Inc. is always boldly
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.
The technical writer responsible for this
owner's manual lives in an odd kind of
dreamworld on Thursday afternoons. Therefore
it is possible that all the instructions given
here might only be true on a small blue-purple
planet in the outer spiral arm of the Great
Andromeda Galaxy. Please check our website
for any possible updates to this manual.
©2012 LOUD Technologies Inc. All Rights
Reserved.
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.
20
402-VLZ3
Hi-Z
Hi-Z
Phantom
48V
Low-cut
Mic: 0 ~ +60dB
Line: -15 ~ +45dB
-
+
Gain
Low-cut
Phantom
Global Phantom Power
Mic: 0 ~ +60dB
Line: -15 ~ +45dB
-
+
Gain
HI
12K
OL
12K
HI
2-band EQ
80
LO
OL
2-band EQ
80
LO
NOTE: Switches are shown in their default (out) position.
R
L
Stereo Channels 3-4
Line
Mic
Ch 2
(Mono)
Line
Mic
Phantom
Stereo
Pan
Button
Level
Level
Level
L Main
R
L
R
Main
Ch 1
(Mono)
R
Tape in Level
L
R sum
L sum
tape
assign to main
Phones level
Main level
Meter
Phones
Tape out
Right
Left
Right
Left
Main out
Owner’s Manual
Block Diagram
Owner’s Manual
21
402-VLZ3
Dimensions
1.6 in/
40.7 mm
WEIGHT
2.5 lb/
1.1 kg
7.3 in/
185.5 mm
5.8 in/ 146.9 mm
Microphone Stand
The bottom panel of the 402-VLZ3 has
three non-threaded holes that allow it to be
fitted with an optional microphone stand
adapter. This lets you support the mixer on
a standard mic stand, and adjust its height
and level to whatever suits your strangelycomplex set of preferences.
1. Order the Atlas AD-11B mic stand
adapter available from many a fine
music store. (It is made and distributed by Atlas Sound.)
2. Use three self-tapping machine screws
6-32 x 1/4" long to secure the adapter
to the bottom of the 402-VLZ3.
Do not use screws longer than 1/4",
as these could damage the circuit
boards. Do not use screws shorter
than 1/4", or the adapter will not be
securely fixed to the mixer.
3. Do not order the Atlas AD-11, as this
is a pack of 100. If you do, please send
for the informative booklet entitled "99
things to do with a mic stand adapter."
22
402-VLZ3
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.
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 (toll-free 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.
Owner’s Manual
Mackie Limited Warranty
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
23
16220 Wood-Red Road NE
Woodinville, WA 98072 • USA
Phone: 425.487.4333
Toll-free: 800.898.3211
Fax: 425.487.4337
www.mackie.com
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