Mach 1 Acoustics 1402-VLZ Owners manual
MI CR O SE RIES1402-VLZ
/
MIC
LINE MIXER
OWNER’S MANUAL
120 VAC 50/60 Hz 25W
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
MIC
LINE IN 1
1
-
C
I
M
U
10
+10dB -40dB
TRIM
TRIM
U
OO
+15
U
OO
+15
U
+15-15
U
+12-12
U
+15-15
1
MUTE
–
ALT 3
dB
10
5
U
5
10
20
30
40
50
60
OO
315mA/250V SLO-BLO
CAUTION:
1
BAL
OR
UNBAL
LINE IN 2
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
G
A
I
N
60
AUX
1
MON/
EFX
2
EFX
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
PANLRPAN
4
dB
10
5
U
5
10
20
30
40
50
60
OO
U
MUTE
ALT 3
OO
OO
MIC
-
M
10
+10dB -40dB
TRIM
U
+15
U
+15
U
+15-15
U
+12-12
U
+15-15
LR
2
–
PHANTOM
POWER
2
BAL
OR
UNBAL
LINE IN 3
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
G
A
C
I
N
I
U
60
+10dB -40dB
AUX
1
MON/
EFX
OO
2
EFX
OO
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
3
MUTE
ALT 3
4
dB
10
5
U
5
10
20
30
40
50
60
OO
MIC
3
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
60
10
TRIM
U
AUX
1
MON/
EFX
+15
U
2
EFX
+15
U
EQ
HI
12kHz
+15-15
U
MID
2.5kHz
+12-12
U
LOW
80Hz
+15-15
PANLRPAN
–
4
LOW NOISE HIGH HEADROOM
14-CHANNEL MIC/LINE MIXER
MAIN
RIGHT
BALANCED
LINE IN 4
U
OO
OO
MUTE
ALT 3
dB
10
5
U
5
10
20
30
40
50
60
OO
1402-VLZ
MIC
d
0
1
-
G
C
I
M
10
+10dB -40dB
TRIM TRIM TRIM
U
+15
U
+15
U
+15-15
U
+12-12
U
+15-15
LR
4
–
4
MICRO SERIES
4
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
B
V
A
I
N
60
AUX
1
MON/
EFX
2
EFX
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
TMTM
MAIN
LEFT
BALANCED
MIC 5MIC
BAL
OR
UNBAL
LINE IN 5
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
U
60
10
+10dB -40dB
U
AUX
1
MON/
EFX
OO
+15
U
2
EFX
OO
+15
U
EQ
HI
12kHz
+15-15
U
MID
2.5kHz
+12-12
U
LOW
80Hz
+15-15
PANLRPAN
5
MUTE6MUTE
ALT 3–4
dB
10
5
U
5
10
20
30
40
50
60
OO
OUTPUT
LEVEL
dB
10
5
U
5
10
20
30
40
50
60
CONTROL
ROOM
BAL/UNBAL
L
R
+4
MIC
MAIN
CONCEIVED, DESIGNED, AND MANUFACTURED BY MACKIE DESIGNS INC.
STEREO AUX RETURNS
6
1
2
LEFT
(1/MONO)
RIGHT
BAL
MONO
OR
UNBAL
LINE IN 6
U
+10dB -40dB
OO
OO
LR
ALT 3
OO
LOW CUT
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
60
10
U
+15
U
+15
U
+15-15
U
+12-12
U
+15-15
–
4
L
BAL
OR
75 Hz
UNBAL
RR
LEVEL
+4
-10 -10 -10 -10
LINE IN 7–8
U
AUX
AUX
1
1
MON/
MON/
EFX
EFX
OO
+15
U
2
2
EFX
EFX
OO
+15
U
EQ
EQ
HI
HI
12kHz
12kHz
+15-15
U
MID
MID
2.5kHz
2.5kHz
+12-12
U
LOW
LOW
80Hz
80Hz
+15-15
PANLRPANLRPANLRPAN
7–89–10 11–12 13–14
MUTE
–
ALT 3
4
dB
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
OO
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
REPLACE WITH THE SAME TYPE FUSE AND RATING.
DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE
ALT 3-4
OUTPUT
BAL/UNBAL
R
AUX SEND
1
2
ALL BAL/UNBAL
MONO
L
BAL
OR
UNBAL
LEVEL
+4
LINE IN 9–10
U
AUX
1
MON/
EFX
OO
+15
U
2
EFX
OO
+15
U
EQ
HI
12kHz
+15-15
U
MID
2.5kHz
+12-12
U
LOW
80Hz
+15-15
MUTE
–
ALT 3
4
OO
WARNING:
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
6
L
TAPE
TAPE
OUTPUT
INPUT
L
R
MONOLMONO
L
BAL
OR
UNBAL
R
LEVEL
+4
LINE IN 11–12
U
AUX
1
MON/
EFX
OO
+15
U
2
EFX
OO
+15
U
EQ
HI
12kHz
+15-15
U
MID
2.5kHz
+12-12
U
LOW
80Hz
+15-15
MUTE
–
ALT 3
4
dB
10
5
U
5
10
20
30
40
50
60
OO
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
5
WOODINVILLE WASHINGTON
MAIN OUTS
L
R
BAL/UNBAL
BAL
OR
UNBAL
R
LEVEL
+4
LINE IN 13–14
U
AUX
1
MON/
EFX
OO
+15
U
2
EFX
OO
+15
U
EQ
HI
12kHz
+15-15
U
MID
2.5kHz
+12-12
U
LOW
80Hz
+15-15
LR
MUTE
ALT 3–4
dB
10
SOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLO
5
U
5
10
20
30
40
50
60
OO
SERIAL NUMBER
CHANNEL INSERTS
(
PRE-FADER / PRE EQ TIP SEND / RING RETURN
3
4
MICRO SERIES 1402-VLZ
14-CHANNEL MIC/LINE MIXER
PHONES
U
OO
+10
AUX 1 MASTER
PRE
POST
AUX 1
SELECT
SOURCE
MAIN
MIX
ALT
3–4
TAPE
ASSIGN
TO MAIN MIX
IN PLACE AFL
SOLO
MODE
PHANTOM
POWER
CONTROL
/PHONES
ROOM
dB
10
5
U
5
10
20
30
40
50
60
OO
MADE IN USA
MONITOR
(NORMAL)
PRE-FADER
(LEVEL SET)
)
EFX TO
MANUFACTURING DATE
2
LEFT
MAIN MIX
dB
10
5
U
5
10
20
30
40
50
60
OO
1
PATENT PENDING
U
OO
+20
NORMALLED
U
OO
+20
RIGHT
+28
+10
+7
+4
+2
0
-2
-4
-7
-10
-20
-30
0dB
=
0dBu
RUDE SOLO LIGHT
1
2
AUX
RETURNS
CLIP
LEVEL
SET
CAUTION AVIS
RISK OF ELECTRIC
DO NOT OPEN
RISQUE DE
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
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.
CHOC
NE PAS OUVRIR
A LA PLUIE OU A L'HUMIDITE
SHOCK
ELECTRIQUE
SAFETY INSTRUCTIONS
1. Read Instructions — All the safety and operation
instructions should be read before this Mackie product is
operated.
2. Retain Instructions — The safety and operating
instructions should be kept for future reference.
3. Heed Warnings — All warnings on this Mackie product and
in these operating instructions should be followed.
4. Follow Instructions — All operating and other instructions
should be followed.
5. Water and Moisture — This Mackie product should not be
used near water – for example, near a bathtub, washbowl,
kitchen sink, laundry tub, in a wet basement, near a
swimming pool, swamp or salivating St. Bernard dog, etc.
6. Heat — This Mackie product should be situated away
from heat sources such as radiators, or other devices which
produce heat.
7. Power Sources — This Mackie product should be
connected to a power supply only of the type described in
these operation instructions or as marked on this Mackie
product.
8. Power Cord Protection — Power supply cords should be
routed so that they are not likely to be walked upon or
pinched by items placed upon or against them, paying
particular attention to cords at plugs, convenience receptacles,
and the point where they exit this Mackie product.
9. Object and Liquid Entry — Care should be taken so that
objects do not fall into and liquids are not spilled into the
inside of this Mackie product.
10. Damage Requiring Service — This Mackie product
should be serviced only by qualified service personnel when:
A. The power-supply cord or the plug has been
damaged; or
B. Objects have fallen, or liquid has spilled into
this Mackie product; or
C. This Mackie product has been exposed to rain;
or
D. This Mackie product does not appear to operate
normally or exhibits a marked change in
performance; or
E. This Mackie product has been dropped, or its
chassis damaged.
11. Servicing — The user should not attempt to service this
Mackie product beyond those means described in this
operating manual. All other servicing should be referred to the
Mackie Service Department.
12. To prevent electric shock, do not use this polarized plug
with an extension cord, receptacle or other outlet unless the
blades can be fully inserted to prevent blade exposure.
Pour préevenir les chocs électriques ne pas utiliser cette fiche
polariseé avec un prolongateur, un prise de courant ou une
autre sortie de courant, sauf si les lames peuvent être insérées
à fond sans laisser aucune pariie à découvert.
13. Grounding or Polarization — Precautions should be
taken so that the grounding or polarization means of this
Mackie product is not defeated.
14. 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 règlement sur le brouillage radioélectrique
édicté par les ministere des communications du Canada.
15. To prevent hazard or damage, ensure that only
microphone cables and microphones designed to IEC 268-15A
are connected.
WARNING — To reduce the risk of fire or electric shock, do
not expose this appliance to rain or moisture.
READ THIS PAGE!!!
We realize that you must be dying to try out
your new MicroSeries 1402-VLZ. Or you might be
one of those people that never read manuals.
Either way, all we ask is that you r ead this page
NOW , and the r est can wait until you’r e good and
ready . But do r ead it — you’ll be glad you did.
LEVEL-SETTING PROCEDURE
Message to seasoned pros: do not set levels using the old “Turn the trim up until the
clip light comes on, then back off a hair”
trick. When a Mackie Designs mixer clip
light comes on, you really are about to clip.
W e worked and slaved to come up with a
better system, one that provides low noise
and high headroom.
Adjusting input levels (Channels 1–6
only)
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
CONTROL ROOM/PHONES
the
about one quarter of the way up.
The following steps must be performed
one channel at a time:
1. Turn the
controls fully down.
2. Set the
3. Connect the signal source to the input.
4. Engage (push in) the
5. Engage the
master section. A green
will congratulate you.
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 might have to readjust
these levels during the middle of the set.
7. Adjust the channel’s
that the display on the LED meters
stays around “0” and never goes higher
than “+7.”
8. If you’d like to apply some EQ, do so now
and return to step 7.
9. Disengage that channel’s
10.Repeat for each of Channels 1–6.
TRIM, AUX SEND
EQ
PHONES
knobs at the center detent.
SIP/PFL
jack, then set
fader
and
SOLO
switch.
switch in the
LEVEL SET
TRIM
control so
SOLO
FADER
light
switch.
Other Nuggets of Wisdom
For optimum sonic performance, the channel and
the “
ROOM/PHONES
connections to and from your MS1402-VLZ.
your amplifier(s) first. When powering up,
turn on your amplifier(s) last.
someday, and you don’t want to have to pay for
another one.
MAIN MIX FADERS
U
” (unity gain) markings.
Always turn the
If you shut down your equipment, turn off
Save the shipping box! You may need it
MAIN MIX
faders down before making
should be set near
and
CONTROL
INSTANT MIXING
Here’s how to get going
right away , assuming you
own a microphone and a
keyboard:
1. Plug your microphone into Channel 1’s
MIC IN
.
2. Turn on the MS1402-VLZ.
3. Perform the Level Setting Procedure .
4. Connect cords from the
(XLR, 1⁄4" or RCA, your choice) to your
amplifier .
5. Hook up speakers to the amp and turn it on.
6. Turn up the MS1402-VLZ’s Channel 1
FADER
to the “U” marking and the
fader one quarter of the way up.
MIX
7. Sing like a canary!
8. Plug your keyboard into stereo channel 7–8.
9. Slide that channel’s
marking.
10. Play like a madman and sing like a
canary! It’s your first mix!
MAIN OUTPUTS
FADER
to the “U”
MAIN
Please write your serial number here for
future reference (i.e. insurance claims,
tech support, return authorization, etc.):
Purchased at:
Date of purchase:
Part No. 820-033-00 Rev. C 4/97
©1997 Mackie Designs Inc., All Rights Reserved. Printed in the U.S.A.
3
INTR O DUCTION
Thank you! There are a lot of makes and
models of compact mixers out there, all competing for your bucks… but you have voted
with your wallet for the folks in Woodinville
who specialize in American-made mixers.
Now that you have your MicroSeries
1402-VLZ, find out how to get the most from it.
That’s where this manual comes in.
HOW TO USE THIS MANUAL
Since many of you folks will want to hook up
your MS1402-VLZ immediately , the first pages
you will encounter after the table of contents
are the everpopular hookup diagrams. These
show typical mixer setups for Record/Mixdown,
Video, Disc Jockey and Stereo PA. After this
section is a detailed tour of the entire mixer.
Every feature of the MS1402-VLZ 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 manual chapters, just as your mixer is organized into three
distinct zones:
PA TCHBAY: The patchbay along the top and
1.
back.
2. CHANNEL STRIP: The ten channel strips
on the left.
3. OUTPUT SECTION: The output section on
the right.
Throughout these chapters 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.
STEREO AUX RETURNS
MIC 1
LINE IN 1
LOW CUT
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
U
10 60
+10dB -40dB
TRIM
TRIM
U
OO
+15
U
OO
+15
U
+15-15
U
+12-12
U
+15-15
1
MUTE
–
ALT 3
4
dB
10
5
U
5
10
20
30
40
50
60
OO
MIC 3 MIC 4
MIC 2
BAL
BAL
OR
OR
UNBAL
UNBAL
LINE IN 3
LINE IN 2
LOW CUT
LOW CUT
75 Hz
75 Hz
18dB/OCT
18dB/OCT
d
d
B
B
0
0
V
V
1
1
-
-
G
G
A
A
C
C
I
I
N
N
I
I
M
M
U
U
10 60
10 60
+10dB -40dB
+10dB -40dB
TRIM
TRIM
U
U
AUX
AUX
1
1
MON/
MON/
EFX
EFX
OO
OO
+15
+15
U
U
2
2
EFX
EFX
OO
OO
+15
+15
U
U
EQ
EQ
HI
HI
12kHz
12kHz
+15-15
+15-15
U
U
MID
MID
2.5kHz
2.5kHz
+12-12
+12-12
U
U
LOW
LOW
80Hz
80Hz
+15-15
PANLRPANLRPANLRPANLRPANLRPANLRPANLRPANLRPANLRPAN
+15-15
CHANNEL STRIPS
2
3
MUTE
MUTE
–
–
ALT 3
4
4
ALT 3
dB
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
OO
OO
MIC 5 MIC 6
BAL
BAL
BAL
OR
UNBAL
75 Hz
PATCHBAY
AUX
1
MON/
EFX
2
EFX
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
OR
UNBAL
LINE IN 4
LINE IN 5
LOW CUT
75 Hz
18dB/OCT
d
d
B
0
0
V
1
1
-
-
G
G
A
C
C
I
N
I
I
M
M
U
U
10 60
10 60
+10dB -40dB
+10dB -40dB
TRIM TRIM TRIM
U
U
AUX
1
MON/
EFX
OO
OO
+15
+15
U
U
2
EFX
OO
OO
+15
+15
U
U
EQ
HI
12kHz
+15-15
+15-15
U
U
MID
2.5kHz
+12-12
+12-12
U
U
LOW
80Hz
+15-15
+15-15
4
5
MUTE
MUTE6MUTE
–
4
ALT 3–4
ALT 3
dB
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
OO
OO
OR
UNBAL
LINE IN 6
LOW CUT
LOW CUT
75 Hz
18dB/OCT
18dB/OCT
d
B
B
0
V
V
1
-
G
A
A
C
I
I
N
N
I
M
U
10 60
+10dB -40dB
U
AUX
1
MON/
EFX
OO
+15
U
2
EFX
OO
+15
U
EQ
HI
12kHz
+15-15
U
MID
2.5kHz
+12-12
U
LOW
80Hz
+15-15
–
4
ALT 3
dB
10
5
U
5
10
20
30
40
50
60
OO
BAL
UNBAL
75 Hz
AUX
MON/
EFX
EFX
EQ
12kHz
MID
2.5kHz
LOW
80Hz
AUX SEND
INPUT
1
1
L
2
2
LEFT (1/MONO)
OR
LINE IN 7–8
U
1
OO
U
2
OO
U
HI
U
U
7–89–10 11–12 13–14
MUTE
ALT 3
dB
10
5
U
5
10
20
30
40
50
60
OO
R
ALL BAL/UNBAL
RIGHT
MONOLMONOLMONOLMONO
L
BAL
BAL
OR
OR
UNBAL
UNBAL
RR
LEVEL
LEVEL+4LEVEL+4LEVEL
+4
-10 -10 -10 -10
LINE IN 11–12
LINE IN 9–10
U
AUX
AUX
1
1
MON/
MON/
EFX
EFX
OO
+15
+15
+15-15
+12-12
+15-15
–
4
OO
+15
U
2
2
EFX
EFX
OO
OO
+15
U
EQ
EQ
HI
HI
12kHz
12kHz
+15-15
U
MID
MID
2.5kHz
2.5kHz
+12-12
U
LOW
LOW
80Hz
80Hz
+15-15
MUTE
MUTE
–
ALT 3
4
ALT 3
dB
dB
10
10
5
5
U
U
5
5
10
10
20
20
30
30
40
40
50
50
60
60
OO
OO
MAIN OUTS
TAPE
TAPE
OUTPUT
BAL/UNBAL
BAL
OR
UNBAL
R
LINE IN 13–14
U
U
AUX
1
MON/
EFX
OO
+15
+15
U
U
2
EFX
OO
+15
+15
U
U
EQ
HI
12kHz
+15-15
+15-15
U
U
MID
2.5kHz
+12-12
+12-12
U
U
LOW
80Hz
+15-15
+15-15
LR
MUTE
–
ALT 3–4
4
dB
10
5
U
5
10
20
30
40
50
60
OO
L
MICRO SERIES 1402-VLZ
14-CHANNEL MIC/LINE MIXER
R
BAL
OR
UNBAL
R
+4
PHONES
U
U
AUX
1
MON/
EFX
OO
OO
+20
+10
SOURCE
OO
AUX 1
SELECT
ASSIGN
SOLO
MODE
/ PHONES
U
EFX TO
OO
+20
MONITOR
RIGHT
LEFT
MAIN
+28
MIX
+10
+7
ALT
3–4
+4
+2
0
TAPE
-2
-4
-7
-10
-20
(AFL)
NORMAL
-30
LEVEL SET (PFL)
=
0dBu
0dB
RUDE SOLO LIGHT
POWER
MAIN MIX
dB
10
5
U
5
10
20
30
40
50
60
OO
AUX 1 MASTER
PRE
2
POST
EFX
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
TO MAIN MIX
OUTPUT SECTION
PHANTOM
CONTROL
ROOM
dB
10
SOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLOSOLO
5
U
5
10
20
30
40
50
60
You’ll also find cross-references to these
numbered features within a paragraph. For
instance, if you see “To wire your own
cables:
,” simply find that number in the
manual and you’ve found your answer.
Finally , you’ll notice featur e numbers like
. These numbers direct you to relevant
this:
information.
This icon marks information that is critically
important or unique to the
MS1402-VLZ. For your own
good, read them and remem-
ber them. They will be on the final test. And
the final test score will go down on your Permanent Record.
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.
THE GLOSSARY: A HAVEN OF
NON-TECHINESS FOR THE NEOPHYTE
Since the MS1402-VLZ is often purchased by
folks who are new to the jargon of professional
audio, we’ve included a fairly comprehensive
dictionary of pro-audio terms. If terms like “clipping,” “noise floor ,” or “unbalanced” leave you
blank, flip to the glossary at the back of this
manual for a quick explanation.
A PLUG FOR THE CONNECTORS SECTION
Also at the back of this manual is a section
on connectors: XLR connectors, balanced connectors, unbalanced connectors, special hybrid
connectors. Although we provide diagrams
throughout the manual, the Connections
appendix
gives more of the why’s and
wherefore’s for beginners.
ARCANE MYSTERIES ILLUMINATED
1
NORMALLED
RETURNS
CLIP
2
AUX
LEVEL
SET
Finally , we’ve included an appendix titled
“Balanced Lines, Phantom Powering,
Grounding and Other Arcane Mysteries.”
This section discusses some of the down ’n’
dirty practical realities of microphones, fixed
installations, grounding, and balanced versus
unbalanced lines. It’s a goldmine for the neophyte and even the seasoned pro might learn a
thing or two.
4
CONTENTS
LEVEL-SETTING PROCEDURE ............................ 3
HOOKUP DIAGRAMS.......................................6
PATCHBAY DESCRIPTION............................... 10
MIC INPUTS ............................................ 10
PHANTOM POWER..................................10
LINE INPUTS ........................................... 11
LOW CUT ................................................ 11
TRIM ...................................................... 11
+
4 / –10................................................ 11
STEREO LINE INPUTS ............................... 12
EFFECTS: SERIAL OR PARALLEL?...............12
INSERT ................................................... 13
AUX RETURNS ........................................ 13
TAPE IN .................................................. 14
XLR MAIN OUTPUTS ............................... 14
MAIN OUTPUT LEVEL............................... 15
1⁄4" MAIN OUTPUTS ................................ 15
TAPE OUTPUT ......................................... 15
PHONES ................................................. 16
ALT 3/4 ................................................. 16
CONTROL ROOM..................................... 16
AUX SEND 1 & 2 ..................................... 16
POWER CONNECTION..............................17
FUSE....................................................... 17
POWER SWITCH...................................... 17
PHANTOM SWITCH ................................. 17
CHANNEL STRIP DESCRIPTION ....................... 18
“U” LIKE UNITY GAIN .............................18
FADER .................................................... 18
SOLO......................................................18
MUTE/ALT 3–4.......................................18
PAN ....................................................... 19
CONSTANT LOUDNESS ! ! !....................... 19
3-BAND EQ.............................................19
AUX SEND ..............................................20
OUTPUT SECTION DESCRIPTION..................... 21
MAIN MIX .............................................. 21
VLZ MIX ARCHITECTURE ......................... 21
SOURCE MATRIX..................................... 21
CONTROL ROOM / PHONES.................... 22
SOLO MODE: SIP / PFL ........................... 22
RUDE SOLO LED ...................................... 22
ASSIGN TO MAIN MIX............................. 23
METERS .................................................. 23
AUX TALK...............................................24
AUX 1 SELECT ......................................... 24
AUX 1 MASTER....................................... 24
AUX RETURNS ........................................ 24
EFX TO MONITOR ................................... 25
JACK NORMALLING................................. 25
MODIFICATIONS............................................ 26
MS1402-VLZ BLOCK DIAGRAM ....................... 30
GAIN STRUCTURE DIAGRAM .......................... 32
SPECIFICATIONS............................................ 33
SERVICE INFO ............................................... 34
APPENDIX A: Glossary .................................. 35
APPENDIX B: Connections .............................. 44
APPENDIX C: Balanced Lines, Phantom Powering,
Grounding and Other Arcane Mysteries .................. 47
5
HOOKUP DIAGRAMS
4-track Recorder
in (record)out (play)
IMPORTANT:
ALL Channel Insert
plugs are inserted
to the SECOND click.
Guitar Effects
Keyb oard or other line-level input
2-track Mixdown Deck2-track Mixdown Deck2-track Mixdown Deck
(record)
1
1
2
3
4
5
6
L
7
MONO
R
8
L
9
MONO
R
10
L
11
MONO
R
12
L
13
MONO
R
14
out
(play)
in
R
L
L
R
OUT
OUTPUTS
CHANNEL INSERTSAUX RETURNS
CHANNEL
1
INPUTS
2
OUT
AUX
OUT
ALT 3/4
IN-TAPE-OUT
OUT
MAIN
PHONES
CNTRL ROOM
OUT
MAIN
1
2
3
4
5
6
L
R
out
in
out
Mono in / stereo out
Reverb
L
R
in
out
1
2
L
R
L
R
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
in
out
in
out
Mono Processor
Digital Delay
P ower
Amplifier
CH
2
Stereo Compressor
in
OL
PWR
ON
HIGH RESOLUTION
STUDIO MONITOR
OFF
OL
PWR
ON
HIGH RESOLUTION
STUDIO MONITOR
OFF
Studio Monitors
MS1402-VLZ 4-T rack Recor d / 2-Tr ack Mix
6
Keyb oard or other
line-level input
Video Deck #3
SMPTE Control
Time code DAT
Video Deck #2
L
R
L
R
Video Deck #1
L
Audio out
R
Audio out
CD Player
out
L
R
in
V/O Mic
L
Audio out
R
L
R
1
2
3
4
5
6
7
8
9
10
11
12
13
14
L
L
1
L
MONO
CHANNEL
R
L
MONO
INPUTS
R
L
MONO
R
L
MONO
R
IN-TAPE-OUT
R
R
PHONES
OUT
CNTRL ROOM
OUTPUTS
1
2
3
4
CHANNEL INSERTSAUX RETURNS
5
6
L
1
R
L
2
R
1
OUT
AUX
2
L
OUT
R
ALT 3/4
L
OUT
MAIN
R
OUT
MAIN
in
Compressor
out
Note: Aux Return #2
can be used as an
extra stereo input
Multi Effect Processor
in
P ower
Amplifier
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DE SIGN
CH
CH
1
2
out
Mackie Designs: Video Setup
scene #1 _ 23:94:10
Time Base
Multi - VCR Video Switcher
with time code Interface
(optional)
Master Video Deck
MS1402-VLZ Video Setup
OL
PWR
ON
HIGH RESOLUTION
STUDIO MONITOR
HIGH RESOLUTION
STUDIO MONITOR
OFF
Studio Monitors
7
OL
PWR
ON
OFF
Turntable
2-track
Deck
CD Player
CD Player
Sampler
L
R
in
(record)
Phono Preamps
RIAA
RIAA
(play)
in
out
in
1
1
2
3
1
4
5
3
6
4
L
7
MONO
R
8
L
9
L
out
R
L
out
R
out
MONO
R
10
L
11
MONO
R
12
L
13
MONO
R
14
R
L
L
R
OUT
OUTPUTS
CHANNEL INSERTSAUX RETURNS
CHANNEL
1
INPUTS
2
OUT
AUX
OUT
ALT 3/4
IN-TAPE-OUT
OUT
MAIN
PHONES
CNTRL ROOM
OUT
MAIN
1
2
3
4
5
*Note: Aux Return #2 can
6
be used as an extra stereo input
L
R
L
R
1
2
L
R
L
R
org
in
red
red
out
in
out
in
out
in
out
Triggered Lights
Multi Effect
Processor
Stereo Compressor
Stereo Compressor
out
Stereo EQ
P ower
Amplifier
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DE SIGN
CH
CH
1
2
in
out
Left PA Speaker
Right PA Speaker
People dancing
on the floor
MS1402-VLZ Disc Jockey Setup
8
Vocal Mics
Stereo Guitar Effects
Keyb oard or other
line-level input
2-track
Deck
(record)
Bass Preamp
Drum
Machine
in
out
(play)
in
CH
1
Stereo EQ
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
1
in
out
in
out
Mono Compressor
in
out
FULL SYMMETRY DUAL DIFFERENTIAL HIGH CURRENT DESIGN
CH
2
P ower
Amplifier
CH
2
Stereo Compressor
out
Multi Effect
Processor
Power Amp
in
out
Stage Monitors
1
2
3
1
4
4
5
5
6
L
7
MONO
R
8
L
9
MONO
R
10
org
org
L
11
MONO
R
12
L
13
MONO
R
14
R
L
L
R
OUT
OUTPUTS
CHANNEL INSERTS
CHANNEL
1
INPUTS
2
AUX RETURNS
OUT
AUX
OUT
ALT 3/4
IN-TAPE-OUT
OUT
MAIN
PHONES
CNTRL ROOM
OUT
MAIN
1
2
3
4
5
6
L
R
L
R
1
2
in
L
R
Mono EQ
L
R
red
red
out
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.
MS1402-VLZ Stereo PA
Left PA Speaker
Right PA Speaker
9
M S1402 - VLZ PATCHBA Y DESCRIPTION
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.
MIC INPUTS (Channels 1–6)
W e 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-type male
mic connector. T o learn how signals are
routed from these inputs:
own, connect them like this:
Pin 1 = Ground or shield
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
. If you wire your
SHIELD
COLD
SHIELD
COLD
2
HOT
1
3
1
3
2
HOT
1
3
2
SHIELD
COLD
HOT
Professional ribbon, dynamic and condenser
mics will all sound excellent through these inputs. The MS1402-VLZ’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:
.
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 MS1402-VLZ’ s phantom power is globally controlled by the
the rear panel
PHANTOM
.
Never plug single-ended
(unbalanced) microphones or instruments
into the
PHANTOM
Do not plug instrument outputs into the
MIC IN
jacks with
PHANTOM
you know for certain it is safe to do so.
switch on
MIC IN
jacks if the
power is on.
power on unless
MIC
LINE IN 1
-
M
U
10
+10dB
TRIM
TRIM
0
1
C
I
LOW CUT
18dB/OCT
d
B
V
G
A
I
-40dB
1
N
60
BAL
OR
UNBAL
75 Hz
MIC
LINE IN 2
M
U
10
+10dB
TRIM
-
1
I
d
0
G
C
10
2
UNBAL
LOW CUT
75 Hz
18dB/OCT
B
V
A
I
N
60
-40dB
MAIN OUTS
TAPE
MONO
UNBAL
LEVEL
+4
L
BAL
OR
1
L
2
R
TAPE
INPUT
LEVEL
+4
LINE IN 11–12
OUTPUT
MONO
L
BAL
OR
UNBAL
R
BAL/UNBAL
LINE IN 13–14
MONO
BAL
UNBAL
LEVEL
+4
L
R
L
OR
R
-
1
C
I
d
B
0
G
6
UNBAL
LOW CUT
75 Hz
18dB/OCT
V
A
I
N
60
-40dB
BAL
STEREO AUX RETURNS
LEFT
(1/MONO)
OR
LINE IN 7–8
1
2
UNBAL
LEVEL
+4
-10 -10 -10 -10
MIC
MIC
3
BAL
OR
LINE IN 3
M
U
10
+10dB
TRIM
-
1
C
I
d
0
G
UNBAL
LOW CUT
75 Hz
18dB/OCT
B
V
A
I
N
60
-40dB
BAL
OR
4
LINE IN 4
LOW CUT
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
U
60
10
-40dB
+10dB
TRIM TRIM TRIM
BAL
UNBAL
75 Hz
MIC
5
OR
LINE IN 5
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
U
60
10
-40dB
+10dB
BAL
OR
UNBAL
MIC
LINE IN 6
M
U
10
+10dB
AUX SEND
ALL BAL/UNBAL
RIGHT
MONO
L
BAL
OR
RR
LINE IN 9–10
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 –30dB
to operating levels of –10dBV to
+4dBu, since there is 30dB more gain available
than on Channels 7–14. To learn how signals
are routed from these inputs:
.
To connect balanced lines to these inputs,
1
⁄4" Tip-Ring-Sleeve (TRS) plug, the type
use a
found on stereo headphones:
SLEEVERING
TIP
RING
Tip = Positive (+ or hot)
Ring = Negative (– or cold)
Sleeve = Shield or ground
To connect unbalanced lines to these in-
1
puts, use a
⁄4" mono (TS) phone plug or
standard instrument cable:
SLEEVE
TIP
TIPSLEEVE
TIP
SLEEVE
Tip = Signal
Sleeve = Ground
Line inputs 1–6 are a good place to connect
older instruments that need more gain. You
can correct weak levels by adjusting the corre-
TRIM
sponding channel’s
control .
LOW CUT (Channels 1–6)
The
LOW CUT switch, often referred to as a
High Pass Filter (all depends on how you look
at it), cuts bass frequencies below 75Hz at a
rate of 18dB per octave.
+15
+10
+5
0
–5
–10
–15
20Hz100
Hz
1k
Hz
Low Cut
10kHz20k
earthquakes. These aside, there isn’t much
down there that you want to hear, and filtering
W e r ecommend
that you use
on every micro-
CUT
LOW
phone application
except kick drum,
bass guitar, bassy
Hz
synth patches, or recordings of
TIPSLEEVE
RING
TIP
SLEEVE
it out makes the low stuff you do want much
more crisp and tasty. Not only that, but
can help reduce the possibility of feed-
CUT
LOW
back 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
, you can safely use
CUT
vocals
. Many times, bass shelving EQ can
LOW
equalization on
really benefit voices. Trouble is, adding
EQ
also boosts stage rumble,
mic handling clunks and
breath pops.
LOW CUT
re-
+15
+10
+5
moves all those problems so
EQ
you can add low
losing a woofer.
Here’s what the combina-
LOW EQ
tion of
looks like in terms of
CUT
without
and
–5
–10
–15
LOW
LOW
LOW
0
20Hz 100Hz 1kHz 10kHz 20kHz
Low Cut with Low EQ
frequency curves.
TRIM (Channels 1–6)
If you haven’t already, please read the Level
Setting Procedure
TRIM
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.
If the signal originates through the XLR
jack, there will be 10dB of gain with the knob
fully down, ramping to 60dB of gain fully up.
1
Through the
⁄4" input, there is 10dB of attenuation fully down and 40dB of gain fully up,
with a “U” (unity gain) mark at 9:00.
This 10dB of attenuation can be very handy
when you are inserting a signal that is very hot,
EQ
or when you want to add a lot of
gain, or
both. Without this “virtual pad,” a scenario like
that might lead to channel clipping.
+4 / –10 (Channels 7–14)
This switch adjusts the input sensitivity of
the line inputs on channels 7–14. If the sound
source is a “–10” device, engage this switch. If
you are unsure, leave the switch up and per -
TRIM
,
knob and
form the Level Setting Procedure
substituting this switch for the
then setting the switch to the appropriate gain
setting.
11
MIC
LINE IN 1
M
U
10 60
+10dB
TRIM
TRIM
MAIN OUTS
TAPE
LEVEL
+4
MONO
BAL
UNBAL
L
OR
1
L
2
R
LINE IN 11–12
TAPE
INPUT
OUTPUT
MONO
L
BAL
OR
UNBAL
R
LEVEL
+4
BAL/UNBAL
LEVEL
LINE IN 13–14
MONO
UNBAL
+4
L
R
L
BAL
OR
R
1
LOW CUT
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
-40dB
UNBAL
75 Hz
MIC
2
BAL
OR
LINE IN 2
LOW CUT
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
U
10 60
-40dB
+10dB
TRIM
UNBAL
75 Hz
MIC
3
BAL
OR
LINE IN 3
LOW CUT
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
U
10 60
-40dB
+10dB
TRIM
UNBAL
75 Hz
MIC
4
BAL
OR
BAL
OR
UNBAL
LINE IN 4
U
10 60
+10dB
LINE IN 5
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
-40dB
TRIM TRIM TRIM
MIC
5
LOW CUT
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
U
10 60
-40dB
+10dB
UNBAL
75 Hz
MIC
BAL
OR
LINE IN 6
U
10 60
+10dB
6
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
-40dB
STEREO AUX RETURNS
LEFT
BAL
OR
UNBAL
LINE IN 7–8
1
2
(1/MONO)
LEVEL
+4
-10 -10 -10 -10
AUX SEND
ALL BAL/UNBAL
RIGHT
MONO
L
BAL
OR
UNBAL
RR
LINE IN 9–10
STEREO LINE INPUTS (Channels 7–8,
9–10, 11–12 and 13–14)
These fully balanced inputs are designed for
stereo or mono, balanced or unbalanced signals, from –10dBV to +4dBu. They can be used
with just about any professional or semi-pro instrument, effect or tape player. To learn how
signals are routed fr om these inputs:
wire your own cables:
.
In the stereo audio world, an odd-numbered
channel usually receives the “left signal.” For
example, you would feed the MS1402-VLZ’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
plug nothing into the Right input — this way
the signal will appear on both sides. This trick
is called “jack normalling”
.
. To
) input and
EFFECTS: SERIAL OR
PARALLEL?
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. Linelevel sources can be patched through a serial
effects device before or after the mixer or,
more conveniently, through the channel insert
jacks located on the rear of the mixer (
SEND/RETURN
) .
“Parallel” means that a portion of the signal
in the mixer is tapped off to the device (
), processed and returned to the mixer
SEND
AUX 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 . (See diagrams below.)
INSERT
AUX
Serial
Parallel
Dry Signal(s)
12
Dry Signal
Aux Send
Insert Send Insert Return
Signal Processor
Serial Device
(e.g. Compressor)
Signal Processor
Aux Return
Parallel Device
(e.g. Reverb)
Wet Signal
Channel Path
Dry Signal(s)
Processed
Signal
Output Section
Processed
Signal
Mix Stage
INSERT (Channels 1–6)
These jacks, on the back of the MicroSeries
1402-VLZ, are where you connect serial effects
such as compressors, equalizers, de-essers, or
filters
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
7–14, simply patch through the processor
before you plug into the MS1402-VLZ.
LOW CUT
EQ
low-impedance (120 ohms), capable of
driving any device. The return (ring) is highimpedance (over 2.5k ohms) and can be
driven by almost any device.
Tip = Send (output to effects device)
Ring = Return (input from effects device)
Sleeve = Common ground (connect shield to
devices, these jacks can also be used as channel direct outputs; postand pre
gram
INSERT
. Since most people don’t have more
The
INSERT
points are after the
TRIM
controls, but before the channel’s
and
FADER
INSERT
ring
tip
sleeve
this plug connects to one of the
mixer’s Channel Insert jacks.
controls. The send (tip) is
cables must be wired thusly:
(TRS plug)
SEND to processor
RETURN from processor
all three sleeves)
Besides being used for inserting external
TRIM
, post-
LOW CUT
EQ
. Check out the 4-track hookup dia-
. Here’s three ways you can use the
jacks:
MONO PLUG
Channel Insert jack
Direct out with no signal interruption to master.
Direct out with signal interruption to master.
Insert only to first “click.”
MONO PLUG
Channel Insert jack
Insert all the way in to the second “click.”
and
“tip”
“ring”
)
2
MANUFACTURING DATE
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. DO NOT REMOVE COVER.
NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
UTILISE UN FUSIBLE DE RECHANGE DE MÊME TYPE.
ING.
DEBRANCHER AVANT DE REMPLACER LE FUSIBLE
USE
PRE-FADER / PRE EQ TIP SEND / RING RETURN
5
6
BY MACKIE DESIGNS INC.
WOODINVILLE WASHINGTON
SERIAL NUMBER
CHANNEL INSERTS
(
3
4
MADE IN USA
AUX 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 inputs
Sends, Pan, Mute, and Solo. The circuits will
handle stereo or mono, balanced or unbalanced signals, either instrument level, –10dBV
or +4dBu. They can be used with just about
any pro or semi-pro effects device on the market. To learn how signals are routed from
these inputs, see
That way, the unused
control can be used to feed
LEVEL
RETURN 1
,
the
to your stage monitors, via
EFX TO MONITOR
Mono Device: If you have an effects de-
vice with a mono output (1 cord), plug that
AUX RETURN 1 LEFT
into
RETURN 1 RIGHT
signal will be sent to both sides, magically
appearing in the center as a mono signal.
This won’t work with
you’ll need a Y-cord to feed the L/R bus. In
AUX RETURN 1
short,
AUX RETURN 2
does not use jack normalling.
without EQ, Aux
.
One Device: If you have
just one parallel effects
device, use
and leave
1
RETURN 2
AUX RETURN
AUX
unplugged.
AUX RETURN 2
switch .
and leave
unplugged. That way the
AUX RETURN 2
uses jack normalling.
1
PATENT PENDING
AUX
AUX
—
STEREO
PLUG
For use as an effects loop.
(TIP = SEND to effect, RING = RETURN from effect)
Channel Insert jack
13
MIC
LINE IN 1
M
U
10 60
+10dB
0
1
-
C
I
TRIM
TRIM
1
LOW CUT
18dB/OCT
d
B
V
G
A
I
-40dB
MAIN OUTS
TAPE
LEVEL
MONO
UNBAL
+4
L
BAL
OR
1
L
2
R
TAPE
INPUT
LEVEL
LINE IN 11–12
OUTPUT
MONO
L
BAL
OR
UNBAL
R
+4
BAL/UNBAL
LINE IN 13–14
MONO
UNBAL
LEVEL
+4
L
R
L
BAL
OR
R
MIC
MIC
LINE IN 3
M
U
10 60
+10d B
TRIM
3
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
-40dB
MIC
2
LINE IN 2
M
U
10 60
+10dB
TRIM
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
-40dB
BAL
OR
UNBAL
75 Hz
N
4
LINE IN 4
LOW CUT
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
U
10 60
-40dB
+10d B
TRIM TRIM TRIM
UNBAL
75 Hz
MIC
5
BAL
OR
LINE IN 5
LOW CUT
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
U
10 60
-40dB
+10dB
UNBAL
75 Hz
MIC
BAL
OR
LINE IN 6
U
10 60
+10dB
6
LOW CUT
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
-40dB
STEREO AUX RETURNS
LEFT
BAL
OR
UNBAL
75 Hz
LINE IN 7–8
1
2
(1/MONO)
LEVEL
AUX SEND
ALL BAL/UNBAL
RIGHT
MONO
L
BAL
OR
UNBAL
RR
+4
-10-10-10-10
LINE IN 9–10
TAPE IN
These RCA jacks are designed to work with
semi-pro as well as pro recorders. To compensate for typically low levels, signals coming in
here will be automatically boosted by 6dB.
Connect your tape recorder’s outputs here,
using standard hi-fi (RCA) cables. To learn how
signals are routed from these inputs, see
Use these jacks for convenient tape playback of your mixes. You’ll be able to review a
mix, and then rewind and try another pass,
without repatching or disturbing the mixer
levels. You can also use these jacks with a portable tape or CD player to feed music to a PA
system between sets.
W ARNING: Pushing
TAPE
in the
SOURCE
matrix and
MAIN MIX
ASSIGN TO
can create a
feedback path between
TAPE IN
and
TAPE OUT
. Make sure your
tape deck is not in record, record-pause or
input monitor mode when you engage these
switches, or make sure the
ROOM / PHONES
fader is fully down (off).
CONTROL
.
TIPSLEEVETIPSLEEVE
Outputs? The MS1402-VLZ has plenty of
MAIN
, 1⁄4"
’em: XLR
CONTROL ROOM
MAIN, TAPE, PHONES
and
AUX SENDS
. Let’s
take a peek.
XLR MAIN OUTPUTS
These low-impedance outputs are fully balanced and capable of driving +4dBu lines with
up to 28dB of headroom. This output is 6dB
hotter than other outputs. To learn how sig-
COLD
3
HOT
.
2
HOT
1
3
1
3
2
1
2
SHIELD
COLD
HOT
nals are routed to these outputs:
To use these outputs, wire the XLR (balanced only) connectors like this:
SHIELD
SHIELD
COLD
Pin 1 = Ground
Pin 2 = Positive (+ or hot)
Pin 3 = Negative (– or cold)
,
14
MAIN OUTPUT LEVEL
E
Engaging this switch pads the balanced
XLR
MAIN OUTPUTS
by 30dB, so you can feed
the microphone input of, say , another mixer.
Perfect for sending a submix to another mic
level input in boardroom or conference room
applications.
You can safely plug this output into an input
that provides 48V phantom power.
1⁄4" MAIN OUTPUTS
These 1⁄4" jacks are balanced outputs capable of delivering 22dBu into a 600 ohm
balanced or unbalanced load. (Okay, we admit
it, that was a pretty technical sentence. See
the Glossary and Connections appendices if
you want to decode it.)
T o learn how signals are routed to these
outputs:
To use these outputs to drive balanced inputs, connect
phone plugs like this:
.
1
⁄4" TRS (Tip-Ring-Sleeve)
SLEEVERING
RING
TIPSLEEVE
For most music recording and P A applications, unbalanced lines are perfectly
acceptable. To use these outputs to drive un-
1
balanced inputs, connect
⁄4" TS (Tip-Sleeve)
phone plugs like this:
SLEEVE
TIP
Tip = + (hot)
Sleeve = Ground
TAPE OUTPUT
These unbalanced RCA connections tap the
MAIN OUTPUTS
ing and PA work more convenient. Connect
these to your recorder’s inputs. To learn how
signals are routed to these outputs:
1
⁄4"
MONO OUT
signal to your tape deck or other device, simply
use an RCA Y-cord to combine these outputs
(Radio Shack
attempt this with any other outputs on the
MS1402-VLZ.
to make simultaneous record-
: If you want to feed a mono
®
#42-4235, for instance). Do not
TIPSLEEVE
TIP
SLEEVE
.
TIPSLEEVETIPSLEEVE
Tip = + (hot)
Ring = – (cold)
Sleeve = Ground
120 VAC 50/60 Hz 25W
315mA/250V SLO-BLO
CAUTION:
TO REDUCE THE RISK OF
FIRE REPLACE WITH SAME
TYPE FUSE AND RATING
TIP
RING
TIP
SLEEVE
MAIN
LEFT
BALANCED
TMTM
CONTROL
ROOM
BAL/UNBAL
+4
MIC
MAIN
OUTPUT
LEVEL
R
L
CONC
POWER
PHANTOM
MICRO SERIES
1 402-VLZ
LOW NOISE HIGH HEADROOM
14-CHANNEL MIC/LINE MIXER
MAIN
RIGHT
BALANCED
15
MIC
LINE IN 1
U
10
+10dB
1
-
C
I
M
TRIM
TRIM
0
18dB/OCT
d
B
V
G
A
-40dB
1
UNBAL
LOW CUT
75 Hz
I
N
60
MAIN OUTS
TAPE
MONO
UNBAL
LEVEL
+4
L
BAL
OR
1
L
2
R
TAPE
INPUT
LEVEL
LINE IN 11–12
OUTPUT
MONO
L
BAL
OR
UNBAL
R
+4
BAL/UNBAL
LINE IN 13–14
MONO
LEVEL
+4
BAL
UNBAL
L
R
L
OR
R
MIC
4
MIC
LINE IN 5
M
U
10
+10dB
5
BAL
OR
UNBAL
LINE IN 6
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
U
60
-40dB
+10dB
MIC
LINE IN 3
M
U
10
+10dB
TRIM
3
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
60
-40dB
BAL
OR
UNBAL
LINE IN 4
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
M
U
60
10
-40dB
+10dB
TRIM TRIM TRIM
MIC
2
LINE IN 2
M
U
10
+10dB
TRIM
BAL
OR
UNBAL
LOW CUT
75 Hz
18dB/OCT
d
B
0
V
1
-
G
A
C
I
N
I
60
-40dB
BAL
OR
MIC
-
M
10
LOW CUT
18dB/OCT
d
B
0
V
1
G
A
C
I
I
-40dB
STEREO AUX RETURNS
6
LEFT
BAL
OR
UNBAL
75 Hz
N
60
1
2
(1/MONO)
LINE IN 7–8
AUX SEND
ALL BAL/UNBAL
RIGHT
MONO
L
BAL
OR
UNBAL
RR
LEVEL
+4
-10 -10 -10 -10
LINE IN 9–10
PHONES
The MS1402-VLZ’s stereo
drive any standard headphone to very loud levels. Walkperson-type phones can also be used
with an appropriate adapter. To learn how sig-
nals are routed to these outputs:
wiring your own cable for the
follow standard conventions:
Tip = Left channel
Ring = Right channel
Sleeve = Common ground
W ARNING: 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 turn the
PHONES
fader all the way down before con-
CONTROL ROOM/
necting 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.”
PHONES
SLEEVERING
TIP
jack will
. If you’re
PHONES
output,
LEFTSLEEVE
RIGHT
RIGHT
LEFT
SLEEVE
ALT 3/4
These 1⁄4" jacks are balanced outputs capable of delivering 22dBu into a balanced or
unbalanced load. To learn how signals are
routed to these outputs:
cables:
.
. T o wire your own
CONTROL ROOM
These 1⁄4" jacks are balanced outputs capable of delivering 22dBu into a 600 ohm
balanced or unbalanced load. To learn how
signals are routed to these outputs:
wire your own cables:
.
. To
AUX SEND 1&2
These 1⁄4" jacks are also balanced outputs
capable of delivering 22dBu into a 600 ohm
balanced or unbalanced load. To learn how
signals are routed to these outputs:
your own cables:
.
. To wire
16
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