1402-VLZ3
14-Channel Mic/Line Mixer
O W N E R ’ S M A N U A L
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M 1 |
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M 2 |
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M 3 |
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M 4 |
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MIC |
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MIC |
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MIC |
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MIC |
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XDR |
IC PRE |
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XDR |
IC PRE |
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XDR |
IC PRE |
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XDR |
IC PRE |
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BAL |
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BAL |
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BAL |
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BAL |
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OR |
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OR |
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OR |
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OR |
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UNBAL |
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UNBAL |
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UNBAL |
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UNBAL |
LINE IN 1 |
LINE IN 2 |
LINE IN 3 |
LINE IN 4 |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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75 Hz |
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75 Hz |
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75 Hz |
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75 Hz |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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-10dBV |
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-10dBV |
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-10dBV |
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-10dBV |
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IC GAI |
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IC GAI |
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IC GAI |
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IC GAI |
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U |
M |
N |
U |
M |
N |
U |
M |
N |
U |
M |
N |
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M |
5 |
MIC |
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XDR |
IC PRE |
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BAL
OR
UNBAL
LINE IN 5
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LOW CUT |
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75 Hz |
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18dB/OCT |
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-10dBV |
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IC GAI |
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U |
M |
N |
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M |
6 |
MIC |
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XDR |
IC PRE |
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BAL
OR
UNBAL
LINE IN 6
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LOW CUT |
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75 Hz |
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18dB/OCT |
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-10dBV |
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IC GAI |
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U |
M |
N |
LEFT/MONO RIGHT |
ALL BAL/UNBAL |
TAPE |
TAPE |
BAL/UNBAL |
1 |
1 |
INPUT |
OUTPUT |
L |
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L |
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L |
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2 |
2 |
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R |
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R |
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R |
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AUX SEND |
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MAIN OUT |
MONO |
MONO |
MONO |
MONO |
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L |
L |
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L |
L |
BAL |
BAL |
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BAL |
BAL |
OR |
OR |
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OR |
OR |
UNBAL |
UNBAL |
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UNBAL |
UNBAL |
R |
R |
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R |
R |
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LEVEL |
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LEVEL |
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LEVEL |
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LEVEL |
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0 |
60 |
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0 |
60 |
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0 |
60 |
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0 |
60 |
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0 |
60 |
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0 |
60 |
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+4 |
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+4 |
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+4 |
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+4 |
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+15dB -45dB |
+15dB |
-45dB |
+15dB -45dB |
+15dB -45dB |
+15dB -45dB |
+15dB -45dB |
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-10 |
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-10 |
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-10 |
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-10 |
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GAIN |
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GAIN |
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GAIN |
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GAIN |
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GAIN |
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GAIN |
LINE IN 7-8 |
LINE IN 9-10 |
LINE IN 11-12 |
LINE IN 13-14 |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U |
AUX |
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U AUX |
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U |
AUX |
U |
AUX |
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U |
OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
OO |
+15 |
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OO |
+15 |
OO |
+10 |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
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U |
OO |
+20 |
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U |
OO |
+15 |
U
-15 +15 U
-15 +15 U
-15 +15
L R
1
MUTE
ALT 3–4
dB 10
5
U |
5
10
20
30
40
50
60
OO |
+15 |
OO |
+15 |
EQ |
U |
EQ |
U |
HI |
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HI |
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12kHz |
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12kHz |
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-15 |
+15 |
-15 |
+15 |
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U |
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U |
MID |
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MID |
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2.5kHz |
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2.5kHz |
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-15 |
+15 |
-15 |
+15 |
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U |
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U |
LOW |
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LOW |
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80Hz |
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80Hz |
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-15 |
+15 |
-15 |
+15 |
PAN |
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PAN |
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L |
R |
L |
R |
2 |
3 |
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MUTE |
MUTE |
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ALT 3–4 |
ALT 3–4 |
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dB |
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dB |
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SOLO 10 |
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SOLO 10 |
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5 |
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5 |
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U |
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U |
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5 |
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5 |
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10 |
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10 |
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20 |
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20 |
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30 |
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30 |
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40 |
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40 |
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50 |
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50 |
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60 |
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60 |
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OO |
+15 |
EQ U
HI 12kHz
-15 +15 U
MID 2.5kHz
-15 +15 U
LOW 80Hz
-15 +15
PAN
L R
4
MUTE
ALT 3–4
dB
SOLO 10
5
U
5
10
20
30
40
50
60
OO |
+15 |
EQ U
HI 12kHz
-15 +15 U
MID 2.5kHz
-15 +15 U
LOW 80Hz
-15 +15
PAN
L R
5
MUTE
ALT 3–4
dB
SOLO 10
5
U
5
10
20
30
40
50
60
OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+15 |
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OO |
+20 |
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EQ |
U |
EQ |
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U |
EQ |
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U |
EQ |
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U |
EQ |
U |
EQ |
C-R/SOURCE |
LEFT |
RIGHT |
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HI |
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HI |
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HI |
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HI |
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HI |
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HI |
0dB=0dBu |
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20 |
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12kHz |
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12kHz |
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12kHz |
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12kHz |
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12kHz |
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12kHz |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
MAIN MIX |
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10 |
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U |
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U |
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U |
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U |
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U |
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7 |
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MID |
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MID |
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MID |
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MID |
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MID |
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MID |
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4 |
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2.5kHz |
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2.5kHz |
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2.5kHz |
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2.5kHz |
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2.5kHz |
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2.5kHz |
ALT 3–4 |
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2 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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0 |
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U |
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U |
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U |
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U |
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U |
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LOW |
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LOW |
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LOW |
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LOW |
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LOW |
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LOW |
TAPE |
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2 |
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80Hz |
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80Hz |
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80Hz |
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80Hz |
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80Hz |
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80Hz |
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4 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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-15 |
+15 |
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7 |
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ASSIGN |
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PAN |
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PAN |
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PAN |
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PAN |
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PAN |
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PAN |
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10 |
LEVEL |
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TO MAIN MIX |
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SET |
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20 |
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NORMAL (AFL) |
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30 |
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L |
R |
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L |
R |
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L |
R |
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L |
R |
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L |
R |
LEVEL SET (PFL) |
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SOLO |
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6 |
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7-8 |
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9-10 |
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11-12 |
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13-14 |
MODE |
SOLO |
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RUDE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
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MUTE |
48V POWER |
LIGHT |
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ALT 3–4 |
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ALT 3–4 |
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ALT 3–4 |
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ALT 3–4 |
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ALT 3–4 |
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CTL ROOM /SUBMIX |
MAIN MIX |
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dB |
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dB |
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dB |
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dB |
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dB |
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dB |
dB |
SOLO |
10 |
SOLO |
10 |
SOLO |
10 |
SOLO |
10 |
SOLO |
10 |
SOLO |
10 |
10 |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
U |
U |
U |
U |
U |
U |
U |
5 |
5 |
5 |
5 |
5 |
5 |
5 |
10 |
10 |
10 |
10 |
10 |
10 |
10 |
20 |
20 |
20 |
20 |
20 |
20 |
20 |
30 |
30 |
30 |
30 |
30 |
30 |
30 |
40 |
40 |
40 |
40 |
40 |
40 |
40 |
50 |
50 |
50 |
50 |
50 |
50 |
50 |
60 |
60 |
60 |
60 |
60 |
60 |
60 |
OO |
OO |
OO |
OO |
OO |
OO |
OO |
OO |
OO |
OO |
OO |
OO |
1402-VLZ3
Important Safety Instructions
1.Read these instructions.
2.Keep these instructions.
3.Heed all warnings.
4.Follow all instructions.
5.Do not use this apparatus near water.
6.Clean only with dry cloth.
7.Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8.Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9.Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10.Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
11.Only use attachments/accessories specified by the manufacturer.
12.Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
PORTABLE CART WARNING
Carts and stands - The Component should be used only with a cart or stand that is recommended by the manufacturer.
A Component and cart combination should be moved with care. Quick stops, excessive force, and uneven surfaces may cause the Component and cart combination to overturn.
13.Unplug this apparatus during lightning storms or when unused for long periods of time.
14.Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
15.This apparatus shall not be exposed to dripping or splashing, and no object filled with liquids, such as vases or beer glasses, shall be placed on the apparatus.
16.This apparatus has been designed with Class-I construction and must be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).
17.This apparatus has been equipped with an all-pole, rocker-style AC mains power switch. This switch is located on the rear panel and should remain readily accessible to the user.
18.This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.
19.Exposure to extremely high noise levels may cause permanent hearing loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufficiently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits could result in some hearing loss. To ensure against potentially dangerous exposure to high sound pressure levels, it is recommended that all persons exposed to equipment capable of producing high sound pressure levels use hearing protectors while the equipment is in operation. Ear plugs or protectors in the ear canals or over the ears must be worn when operating the equipment in order to prevent permanent hearing loss if exposure is in excess of the limits set forth here.
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Duration Per Day |
Sound Level dBA, |
Typical |
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CAUTION |
AVIS |
In Hours |
Slow Response |
Example |
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8 |
90 |
Duo in small club |
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RISK OF ELECTRIC SHOCK |
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DO NOT OPEN |
6 |
92 |
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RISQUE DE CHOC ELECTRIQUE |
4 |
95 |
Subway Train |
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NE PAS OUVRIR |
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CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK |
3 |
97 |
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DO NOT REMOVE COVER (OR BACK) |
2 |
100 |
Very loud classical music |
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NO USER-SERVICEABLE PARTS INSIDE |
1.5 |
102 |
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REFER SERVICING TO QUALIFIED PERSONNEL |
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ATTENTION: POUR EVITER LES RISQUES DE CHOC |
1 |
105 |
Dave screaming at Steve about deadlines |
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ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE. AUCUN |
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ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER. CONFIER |
0.5 |
110 |
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L'ENTRETIEN AU PERSONNEL QUALIFIE. |
0.25 or less |
115 |
Loudest parts at a rock concert |
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AVIS: POUR EVITER LES RISQUES D'INCENDIE OU |
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D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE |
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A LA PLUIE OU A L'HUMIDITE |
WARNING — To reduce the risk of fire or |
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The lightning flash with arrowhead symbol within an equilateral |
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triangle is intended to alert the user to the presence of uninsulated |
electric shock, do not expose this apparatus |
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of sufficient magnitude to constitute a risk of electric shock to persons. |
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"dangerous voltage" within the product's enclosure, that may be |
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to rain or moisture. |
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l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur |
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Le symbole éclair avec point de flèche à l'intérieur d'un triangle |
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équilatéral est utilisé pour alerter l'utilisateur de la présence à |
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suffisante pour constituer un risque d'éléctrocution. |
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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.
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Le point d'exclamation à l'intérieur d'un triangle équilatéral est |
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employé pour alerter les utilisateurs de la présence d'instructions |
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importantes pour le fonctionnement et l'entretien (service) dans le |
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livret d'instruction accompagnant l'appareil. |
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2 |
1402-VLZ3 |
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Read This Page! |
Other Nuggets of Wisdom |
We realize that you must be dying to try out your new 1402-VLZ3. All we ask is that you read this page NOW, and the rest later — you’ll be glad you did.
WARNING: Before you plug the AC power
cord into the mixer, make sure the VOLTAGE SELECTOR switch is set to the same voltage
as your local AC mains supply (see page 12).
Level-Setting Procedure
Message to seasoned pros: do not set levels using the old “Turn the GAIN up until the clip light comes on, then back off a hair” trick. When a Mackie mixer clip light comes on, you really are about to clip. We worked and slaved to come up with a better system, one that provides low noise and high headroom.
Adjusting input levels (Chs. 1–6 only)
On the first six channels, it’s not even necessary to hear what you’re doing to set optimal levels. But if you’d like to: Plug headphones into the PHONES jack, then move the CONTROL ROOM/SUBMIX fader up a little.
The following steps must be performed one channel at
atime:
1.Turn the GAIN, AUX SEND knobs and FADERS fully down.
2.Set the EQ knobs at the center detent.
3.Connect the signal source to the input.
4.Engage (push in) the channel's SOLO switch.
For optimum sonic performance, the channel faders and MAIN MIX faders should be set near the “U” (unity gain) markings.
Always turn the MAIN MIX and CONTROL ROOM/ SUBMIX faders down before making connections to and from your 1402-VLZ3.
If you shut down your equipment, turn off your amplifier first. When powering up, turn on your amplifier last.
Save the shipping box! You may need it someday.
Instant Mixing
Here’s how to get going right away, assuming you have a microphone and a keyboard:
1.Plug your microphone into channel 1’s MIC input.
2.Turn on the 1402-VLZ3.
3.Perform the Level-Setting Procedure.
4.Connect cords from the MAIN OUTS (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 1402-VLZ3’s channel 1 fader to the U mark, and the MAIN MIX fader one quarter of the way up.
7.Sing like a canary!
8.Plug your keyboard into stereo channel 7-8.
9.Turn that channel’s fader to the U mark.
10.Play like a madman and sing like a canary! It’s your first mix!
5.Engage the AFL/PFL switch in the master section. A green LEVEL SET light will turn on.
6.Play something into the selected input. This could be an instrument, a singing or speaking
voice, or a line input such as a CD player or
tape recorder output. Be sure that the volume Please write your serial number here for future of the input is the same as it would be during reference (i.e., insurance claims, tech support,
normal use. If it isn’t, you may have to readjust these levels during the middle of the set.
7.Adjust the channel’s GAIN control so that the display on the LED meters stays around “0” and never goes higher than “+7.”
8.If you apply some EQ, repeat step 7.
9.Disengage that channel’s SOLO switch.
return authorization, make dad proud, etc.)
Purchased at:
Manual Owner’s
10. Repeat for channels 1 through 6. |
Date of purchase: |
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Part No. 0019815 Rev. A |
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©2006 LOUD Technologies Inc. All Rights Reserved. |
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Printed on enviro-friendly, self-perpetuating, thinly-sliced sheets of fossilized |
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Owner’s Manual |
3 |
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Albatross guano, eco-harvested from the wooded slopes of Mount Woodinville. |
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1402-VLZ3
Introduction
Thank you for choosing a Mackie professional compact mixer. The 1402-VLZ3 is equipped with our pre- cision-engineered XDRTM Extended Dynamic Range premium studio-grade mic preamp.
Now that you have your 1402-VLZ3, 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 1402-VLZ3 immediately, the first pages you will encounter after the table of contents are the ever-popular hookup diagrams. These show typical mixer setups for Recording and Stereo PA.
After this section is a detailed tour of the entire mixer. Every feature of the 1402-VLZ3 is described “geographically;” in other words, in order of where it is physically placed on the mixer’s top or rear panel. These descriptions are divided into the first three sections, just as your mixer is organized into three distinct zones:
Patchbay: The patchbay along the top and back, where you connect things.
Channel Strip: The eight channel strips on the left where you adjust each channel.
Output Section: The output section on the right.
Throughout these sections you’ll find illustrations, with each feature numbered. If you’re curious about a feature, simply locate it on the appropriate illustration, notice the number attached to it, and find that number in the nearby paragraphs.
This icon marks information that is critically 
important or unique to the 1402-VLZ3. For your 
own good, read them and remember them. They will be on the final test.
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.
Appendix A is a section on troubleshooting and repair information.
Appendix B is a section on connectors: XLR connectors, TRS balanced connectors, TS unbalanced connectors, and Insert connectors.
Appendix C shows the technical specifications, and a block diagram showing the internal signal path and general goings-on within the mixer.
Appendix D was removed after it became bloated and painful.
Need help with your new mixer?
•Visit www.mackie.com and click Support to find:
FAQs (Frequently Asked Questions), manuals, addendums, and user forums.
•Email us at: techmail@mackie.com.
•Telephone 1-800-898-3211 to speak with one of our splendid technical support representatives, (Monday through Friday, from 7 a.m. to 5 p.m. PST).
4 |
1402-VLZ3 |
Contents
Important Safety Instructions .................................. |
2 |
Output Section ...................................................... |
16 |
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Introduction ............................................................ |
4 |
32. |
MAIN MIX FADERS ................................... |
16 |
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HOOKUP DIAGRAMS............................................... |
6 |
33. CONTROL ROOM SOURCE MATRIX ............ |
16 |
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Patchbay Description............................................... |
8 |
34. |
CONTROL ROOM/SUBMIX....................... |
16 |
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1. |
MIC INPUTS (Channels 1–6)...................... |
8 |
35. |
SOLO MODE (AFL/PFL) .......................... |
17 |
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PHANTOM POWER................................... |
8 |
36. |
RUDE SOLO LIGHT.................................. |
17 |
2. |
LINE INPUTS (Channels 1–6)..................... |
8 |
37. |
ASSIGN TO MAIN MIX............................ |
17 |
3. |
LOW CUT (Channels 1–6).......................... |
9 |
38. |
METERS – MANY DISPLAYS IN ONE! ....... |
17 |
4. |
GAIN (Channels 1–6) ............................... |
9 |
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A WORD ABOUT AUX............................. |
18 |
5. |
STEREO LINE INPUTS ................................ |
9 |
39. |
PRE/POST (AUX 1) ............................... |
18 |
6. |
+4/–10 LEVEL (Stereo Channels only) ....... |
9 |
40. |
AUX 1 MASTER...................................... |
18 |
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EFFECTS: SERIAL OR PARALLEL? ................ |
9 |
41. |
STEREO RETURNS................................... |
18 |
7. |
STEREO RETURNS................................... |
10 |
42. |
RETURN TO AUX 1 ................................. |
19 |
8. |
AUX SEND 1&2...................................... |
10 |
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JACK NORMALLING................................ |
19 |
9. |
TAPE INPUT ........................................... |
10 |
Appendix A: Service Information ............................ |
20 |
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10. |
TAPE OUTPUT ........................................ |
10 |
Appendix B: Connections........................................ |
21 |
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11. |
1⁄4" MAIN OUTS ..................................... |
10 |
Appendix C: Technical Information .......................... |
24 |
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12. |
PHONES ................................................ |
11 |
Specifications.................................................. |
24 |
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13. |
XLR MAIN OUTS ................................... |
11 |
Block Diagram................................................. |
25 |
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14. |
XLR MAIN OUTPUT LEVEL SWITCH.......... |
11 |
Track Sheet..................................................... |
26 |
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15. |
CONTROL ROOM.................................... |
11 |
1402-VLZ3 Limited Warranty................................ |
27 |
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16. |
ALT 3–4 OUTPUT ................................... |
11 |
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17. |
CHANNEL INSERT (Channels 1–6 )........... |
11 |
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18. |
POWER CONNECTION............................. |
12 |
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19. |
FUSE...................................................... |
12 |
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20. |
VOLTAGE SELECTOR................................ |
12 |
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21. |
POWER SWITCH..................................... |
12 |
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22. |
PHANTOM SWITCH ................................ |
12 |
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Channel Strip Description ....................................... |
13 |
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“U” LIKE UNITY GAIN ............................ |
13 |
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23. |
CHANNEL FADER..................................... |
13 |
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24. |
SOLO ..................................................... |
13 |
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25. |
MUTE/ALT 3–4 ...................................... |
13 |
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26. |
PAN........................................................ |
14 |
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CONSTANT LOUDNESS ! ! ! ...................... |
14 |
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3-BAND EQ ............................................ |
14 |
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27. |
LOW EQ................................................. |
14 |
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28. |
MID EQ.................................................. |
14 |
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29. |
HI EQ..................................................... |
15 |
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MODERATION DURING EQ ...................... |
15 |
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31. |
AUX 1 and 30. AUX 2 SEND..................... |
15 |
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Manual Owner’s
Owner’s Manual |
5 |
1402-VLZ3
HOOKUP DIAGRAMS
Vocal Mics |
1 |
1 |
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2 |
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Direct |
3 |
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Boxes |
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5 |
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6 |
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7 |
L |
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Machine |
MONO |
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9 |
MONOCHANNEL |
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Stereo Guitar Effects |
8 |
R |
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Drum |
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L |
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Keyboard or other |
10 |
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INPUTS |
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line level input |
R |
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L |
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MONO |
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R |
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13 |
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MONO |
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14 |
R |
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Out |
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OUT-TAPE-IN |
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(play) |
L |
R |
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In |
L |
R |
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(record) |
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PHONES OUT |
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ROOM CNTRL OUTPUTS |
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INSERTS |
1 |
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2 |
Out |
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3 |
In Mono Compressor |
CHANNEL |
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5 |
Out Stereo Compressor |
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4 |
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In |
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6 |
In |
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Out |
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RETURNS |
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L |
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1 |
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R |
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STEREO |
R |
Digital Delay |
Multi Effect |
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L |
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2 |
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AUX SEND |
1 |
Processor |
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ALT3/4 OUT |
2 |
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R |
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L |
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MAIN OUT |
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R |
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MAIN OUT |
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Headphones |
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for Studio |
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Powered |
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Powered |
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Studio Monitors |
Headphone Distribution Amp |
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Studio Monitors |
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for Studio |
Recording System
6 |
1402-VLZ3 |
Vocal Mics |
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Direct |
1 |
1 |
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Boxes |
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2 |
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2 |
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3 |
3 |
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4 |
4 |
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5 |
5 |
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6 |
6 |
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Stereo Guitar Effects |
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7 |
L |
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Machine |
MONO |
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9 |
L |
CHANNEL |
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Drum |
8 |
R |
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Keyboard or other |
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MONO |
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10 |
R |
INPUTS |
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line level input |
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11 |
L |
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MONO |
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12 |
R |
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13 |
L |
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MONO |
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14 |
R |
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Out (play)
In (record)
L |
R |
OUT-TAPEIN- |
L |
R |
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PHONES OUT |
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ROOM CNTRL OUTPUTS |
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1 |
In Mono Compressor |
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Out |
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INSERTS |
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2 |
Out Stereo Compressor |
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3 |
In |
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CHANNEL |
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5 |
In |
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4 |
Out |
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RETURNS |
6 |
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L |
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1 |
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STEREO |
R |
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L |
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2 |
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R |
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AUX SEND |
1 |
Multi Effect |
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2 |
Processor |
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ALT3/4 OUT |
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R |
Mono EQ |
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L |
Stage Monitors |
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MAIN OUT |
R |
Amplifier |
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L |
Mono Power |
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MAIN OUT |
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Headphones
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.
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Stereo |
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EQ |
SRM450 |
SRM450 |
Powered |
Powered |
Speaker |
Speaker |
SWA1501 |
SWA1501 |
Powered |
Powered |
Subwoofer |
Subwoofer |
Manual Owner’s
Live Stereo PA System
Owner’s Manual |
7 |
1402-VLZ3
Patchbay Description
MICM |
1 |
MICM |
2 |
MICM |
3 |
MICM |
4 |
MICM |
5 |
MICM |
6 |
LEFT/MONO RIGHT |
ALL BAL/UNBAL |
TAPE |
TAPE |
BAL/UNBAL |
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R |
IC |
PRE |
R |
IC |
PRE |
R |
IC |
PRE |
R |
IC |
PRE |
R |
IC |
PRE |
R |
IC |
PRE |
1 |
1 |
INPUT |
OUTPUT |
L |
XD |
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XD |
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XD |
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XD |
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XD |
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XD |
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1 |
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L |
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2 |
2 |
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R |
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R |
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R |
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2
3
4
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BAL |
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BAL |
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BAL |
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BAL |
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BAL |
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OR |
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OR |
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OR |
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OR |
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OR |
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UNBAL |
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UNBAL |
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UNBAL |
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UNBAL |
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UNBAL |
LINE IN 1 |
LINE IN 2 |
LINE IN 3 |
LINE IN 4 |
LINE IN 5 |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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LOW CUT |
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75 Hz |
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75 Hz |
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75 Hz |
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75 Hz |
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75 Hz |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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18dB/OCT |
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-10 |
d |
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-10 |
d |
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-10dBV |
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-10dBV |
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-10dBV |
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BV |
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BV |
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IC GAI |
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IC GAI |
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IC GAI |
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IC GAI |
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IC GAI |
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U |
M |
N |
U |
M |
N |
U |
M |
N |
U |
M |
N |
U |
M |
N |
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0 |
60 |
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0 |
60 |
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0 |
60 |
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0 |
60 |
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0 |
60 |
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+15dB -45dB |
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+15dB -45dB |
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+15dB -45dB |
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+15dB -45dB |
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+15dB -45dB |
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GAIN |
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GAIN |
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GAIN |
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GAIN |
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GAIN |
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BAL |
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AUX SEND |
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MAIN OUT |
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MONO |
MONO |
MONO |
MONO |
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OR |
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UNBAL |
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L |
L |
L |
L |
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LINE IN 6 |
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BAL |
BAL |
BAL |
BAL |
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LOW CUT |
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OR |
OR |
OR |
OR |
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75 Hz |
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UNBAL |
UNBAL |
UNBAL |
UNBAL |
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18dB/OCT |
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5 |
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-10dBV |
R |
R |
R |
R |
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IC GAI |
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U |
M |
N |
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LEVEL |
LEVEL |
LEVEL |
LEVEL |
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0 |
60 |
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+4 |
+4 |
+4 |
+4 |
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-10 |
-10 |
-10 |
-10 |
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+15dB -45dB |
6 |
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GAIN |
LINE IN 7-8 |
LINE IN 9-10 |
LINE IN 11-12 |
LINE IN 13-14 |
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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.
See Appendix B for further details and drawings of the connectors you can use with the 1402-VLZ3. Also see the Channel Strip description on page 13 for details of the signal routing from the XLR and Line inputs.
1. MIC INPUTS (Channels 1–6)
We use phantom-powered, balanced microphone inputs just like the big studio mega-consoles, for exactly the same reason: This kind of circuit is excellent at rejecting hum and noise. You can plug in almost any kind of mic that has a standard XLR male mic connector.
Professional ribbon, dynamic, and condenser mics will all sound excellent through these inputs. The 1402-VLZ3’s mic inputs will handle any kind of mic level you can toss at them, without overloading. Be sure to perform the Level-Setting Procedure on page 3.
Not every instrument is made to connect directly to a mixer. Guitars commonly need a Direct Injection (DI) box to connect to the mixer's MIC inputs. These boxes convert unbalanced line-level signals from your guitar, into balanced mic-level outputs, and provide signal and impedance matching. They also let you send your gifted guitar renditions over long cables or audio snakes, with minimum interference and high-frequency signal loss. Ask your dealer or guitar maker about their recommendations for a good DI box.
PHANTOM POWER
Most modern professional condenser mics are equipped for Phantom Power, which lets the mixer send low-current DC voltage to the mic’s electronics through the same wires that carry audio. (Semi-pro condenser mics often have batteries to accomplish the same thing.) “Phantom” owes its name to an ability to
be “unseen” by dynamic mics (Shure SM57/SM58, for instance), which don’t need external power and aren’t affected by it anyway.
The 1402-VLZ3’s phantom power is globally controlled by the PHANTOM switch on the rear panel. (This means the phantom power for channels 1-6 is turned on and off together.)
Never plug single-ended (unbalanced) microphones or instruments into the MIC input jacks if the PHANTOM power is on.
Do not plug instrument outputs into the MIC input jacks with PHANTOM power on unless you know for certain it is safe to do so.
2. LINE INPUTS (Channels 1–6)
These six line inputs share circuitry (but not phantom power) with the mic preamps, and can be driven by balanced or unbalanced sources at almost any level. You can use these inputs for virtually any signal you’ll come across, from instrument levels as low as –40 dB to operating levels of –10 dBV to +4 dBu, since there is 40 dB more gain available than on channels 7–14.
To connect balanced lines to these inputs, use a 1⁄4" Tip-Ring-Sleeve (TRS) plug, the type found on stereo headphones.
To connect unbalanced lines to these inputs, use a 1⁄4" mono (TS) phone plug or standard instrument cable.
LINE IN inputs 1–6 are a good place to connect older instruments that need more gain. You can correct weak levels by adjusting the corresponding channel’s GAIN control.
8 |
1402-VLZ3 |
3. LOW CUT (Channels 1–6)
Each LOW CUT switch, often referred to as a High Pass Filter (all depends on how you look at it), cuts bass frequencies below 75 Hz at a rate of 18 dB per octave.
We recommend that you use LOW CUT on every microphone application except kick drum, bass guitar, bassy synth patches, or recordings of earthquakes. These aside, there isn’t much down there that you want to hear, and filtering it out makes the low stuff you do want much more crisp and tasty. Not only that, but LOW CUT can help reduce the possibility of feedback in live situations and it helps to conserve the amplifier power.
Another way to consider LOW CUT’s function is that it actually adds flexibility during live performances. With the addition of LOW CUT, you can safely use LOW equalization on vocals. Many times, bass shelving EQ can really benefit voices. Trouble is, adding LOW EQ also boosts stage rumble, mic handling clunks and breath pops. LOW CUT removes all those problems so you can add low EQ without losing a woofer.
Here’s what the combination of LOW EQ and LOW CUT looks like in terms of frequency curves:
+15 |
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+15 |
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+10 |
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+10 |
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+5 |
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+5 |
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0 |
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0 |
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–5 |
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–5 |
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–10 |
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–10 |
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–15 |
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–15 |
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20Hz |
100Hz |
1kHz |
10kHz 20kHz 20Hz |
100Hz |
1kHz |
10kHz 20kHz |
Low Cut |
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Low Cut with Low EQ |
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4. GAIN (Channels 1–6)
If you haven’t already, please read the Level-Setting Procedure.
GAIN adjusts the input sensitivity of the mic and line inputs connected to channels 1 through 6. This allows signals from the outside world to be adjusted to optimal internal operating levels.
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0dB |
If the signal originates through the |
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-1 |
G |
V |
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I |
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AI |
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U |
M |
C |
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N |
XLR jack, there will be 0 dB of gain |
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with the knob fully down, ramping to |
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0 |
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60 |
60 dB of gain fully up. |
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+15dB -45dB |
Through the 1⁄4" input, there is 15 |
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GAIN |
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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.
5. 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 –10 dBV to +4 dBu. They can be used with just about any professional or semi-pro instrument, effect or tape player.
In the stereo audio world, an odd-numbered channel usually receives the “left signal.” For example, you would feed the 1402-VLZ3’s line inputs 7-8 a stereo signal by inserting the device’s left output plug into the channel 7 jack, and its right output plug into the channel 8 jack.
When connecting a mono device (just one cord), always use the LEFT (MONO) input (jacks 7, 9, 11, or 13) and plug nothing into the RIGHT input (jacks 8, 10, 12 or 14)— this way the signal will appear on both sides. This trick is called “jack normalling.”
6. +4/–10 LEVEL (Stereo Channels only)
This switch adjusts the input sensitivity of the line inputs on channels 7 to 14. If the sound source is a "–10" device, engage this switch. If you are unsure, leave the switch up, and perform the Level Setting Procedure, substituting this switch for the GAIN knob to find the best position for it.
EFFECTS: SERIAL OR PARALLEL?
The next two sections toss the terms “serial” and “parallel” around like hacky sacks. Here’s what we mean by them:
“Serial” means that the entire signal is routed through the effects device. Examples: compressor/limiters, graphic equalizers. Line-level sources can be patched through a serial effects device before or after the mixer, or preferably through the insert jacks located on the rear panel (CHANNEL INSERT [17] send/return).
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Insert |
Insert |
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Send |
Return |
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Signal Processor |
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Dry Signal |
(e.g., Compressor) |
Processed |
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Signal |
“Parallel” means that a portion of the signal in the mixer is tapped off to the device (AUX SEND), processed and returned to the mixer (STEREO RETURN) to be mixed with the original “dry” signal. This way, multiple channels can all make use of the same effects device. Examples: reverb, digital delay.
Aux |
Aux |
Output |
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Send |
Return |
Section |
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Signal Processor |
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(e.g., Reverb) |
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Wet Signal |
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Mix |
Processed |
Channel Path |
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Stage |
Signal |
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Dry Signal(s) |
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Dry Signal(s) |
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Manual Owner’s
Owner’s Manual |
9 |
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