Mackie 1402-VLZ3 Owner's Manual

1402-VLZ3

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

+10

+20

+15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

+15-15

+15

-15

40 50

MIC

BAL OR

UNBAL

BAL OR

UNBAL

BAL OR

UNBAL

BAL OR

UNBAL

BAL OR

UNBAL

BAL OR

UNBAL

AUX SEND

RIGHT

LEFT/

MONO

ALL BAL/UNBAL

BAL/UNBAL

LINE IN 1 LINE IN 2

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LINE IN 3

LOW CUT

75 Hz

18dB/OCT

LINE IN 4

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LINE IN 5 LINE IN 6

LOW CUT

75 Hz

18dB/OCT

GAINGAIN GAIN GAIN GAIN GAIN

LINE IN 7-8

LINE IN 9-10

LINE IN 11-12

LINE IN 13-14

AUX

12kHz

MID

2.5kHz

LOW 80Hz

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

SOLO

MUTE

ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4

L R

12kHz

MID

2.5kHz

LOW 80Hz

SOLO

MUTE

L R

12kHz

MID

2.5kHz

LOW 80Hz

SOLO

MUTE

L R

12kHz

MID

2.5kHz

LOW 80Hz

SOLO

MUTE

L R

12kHz

MID

2.5kHz

LOW 80Hz

SOLO

MUTE

L R

12kHz

MID

2.5kHz

LOW 80Hz

SOLO

MUTE

L R

12kHz

MID

2.5kHz

LOW 80Hz

SOLO

7-8

MUTE

L R

12kHz

MID

2.5kHz

LOW 80Hz

SOLO

9-10

MUTE

L R

12kHz

MID

2.5kHz

LOW 80Hz

SOLO

11-12

MUTE

L R

12kHz

MID

2.5kHz

LOW 80Hz

SOLO

13-14

MUTE

ALT 3–4

L R

MONO

BAL

UNBAL

BAL OR

UNBAL

BAL

UNBAL

BAL

UNBAL

TAPE

INPUT

TAPE

OUTPUT

LEVEL

SET

LEFT RIGHT

MAIN OUT

ALT 3–4

TAPE

MAIN MIX

ASSIGN

TO MAIN MIX

SOLO MODE

LEVEL SET (PFL)

NORMAL (AFL)

C-R/SOURCE

PO48V WER

RUDE SOLO LIGHT

MAIN MIXCTL ROOM /SUBMIX

0dB=0dBu

LEVELLEVELLEVEL

LEVEL +4

MIC

14-Channel Mic/Line Mixer

O W N E R ’ S M A N U A L

Important Safety Instructions

PORTABLE CART

WARNING

CAUTION AVIS

RISK OF ELECTRIC SHOCK. DO NOT OPEN

RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)

NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL

ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.

AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.

CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.

AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE

A LA PLUIE OU A L'HUMIDITE

The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure, that may be of sufficient magnitude to constitute a risk of electric shock to persons.

Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de "voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque d'éléctrocution.

The exclamation point within an equilateral triangle is intended to alert the user of the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé pour alerter les utilisateurs de la présence d'instructions importantes pour le fonctionnement et l'entretien (service) dans le livret d'instruction accompagnant l'appareil.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

1402-VLZ3

7. Do not block any ventilation openings. Install in accordance with the

manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers,

stoves, or other apparatus (including ampliﬁers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type

plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not ﬁt into your outlet, consult an electrician for replacement of the obsolete outlet.

10.

Do not overload wall outlets and extension cords as this can result in a

risk of ﬁre or electric shock.

11.

Protect the power cord from being walked on or pinched particularly at

plugs, convenience receptacles, and the point where they exit from the apparatus.

12.

Only use attachments/accessories speciﬁed by the manufacturer.

13.

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.

14.

Unplug this apparatus during lightning storms or

when unused for long periods of time.

15.

Refer all servicing to qualiﬁed service personnel. Servicing is required

when the apparatus has been damaged in any way, such as powersupply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

16.

This apparatus shall not be exposed to dripping or splashing, and no

object ﬁlled with liquids, such as vases or beer glasses, shall be placed on the apparatus.

17.

This apparatus has been designed with Class-I construction and must

be connected to a mains socket outlet with a protective earthing connection (the third grounding prong).

18.

This apparatus has been equipped with a rocker-style AC mains power

switch. This switch is located on the rear panel and should remain readily accessible to the user.

19.

The MAINS plug or an appliance coupler is used as the disconnect device, so the disconnect device shall remain readily operable.

20. NOTE: This equipment has been tested and found to comply with

the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and the receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Changes or modiﬁcations to this device not expressly

approved by LOUD Technologies Inc. could void the user's authority to operate the equipment under FCC rules.

21. This apparatus does not exceed the Class A/Class B (whichever is

applicable)

limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.

ATTENTION — Le présent appareil numérique n’émet pas de bruits

radioélectriques dépassant las limites applicables aux appareils numériques de class A/de class B (selon le cas) prescrites dans le réglement sur le brouillage radioélectrique édicté par les ministere des communications du Canada.

22.

Exposure to extremely high noise levels may cause permanent hearing

loss. Individuals vary considerably in susceptibility to noise-induced hearing loss, but nearly everyone will lose some hearing if exposed to sufﬁciently intense noise for a period of time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has speciﬁed the permissible noise level exposures shown in the following chart.

According to OSHA, any exposure in excess of these permissible limits

could result in some hearing loss. To ensure against potentially danger ous 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:



140-VLZ3

Duration, per day in hours 8 90 Duo in small club 6 92 4 95 Subway Train 3 97 2 100 Very loud classical music

1.5 102 1 105 Dave screaming at Steve about

0.5

0.25 or less

Sound Level dBA, Slow Response

110 115 Loudest parts at a rock concert

Typical Example

deadlines

WARNING — To reduce the risk of ﬁre or electric shock, do not

expose this apparatus to rain or moisture.

Correct disposal of this product. This symbol indicates that this product should not be disposed of with your household waste, according to the WEEE Directive (2002/96/EC) and your national law. This product should be handed over to an authorized collection site for recycling waste electrical and electronic equipment (EEE). Improper handling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the effective usage of natural resources. For more information about where you can drop off your waste equipment for recycling, please contact your local city ofﬁce, waste authority, or your household waste disposal service.

Read This Page!

We realize that you must be wanting to try out your new 1402-VLZ3. All we ask is that you read this page NOW, and the rest later — you’ll be glad you did.

WARNING: Before you plug the AC power cord into the mixer, make sure the VOLTAGE SELECTOR switch is set to the same voltage

as your local AC mains supply (see page 12).

Level-Setting Procedure

Message to seasoned pros: do not set levels using the old “Turn the GAIN up until the clip light comes on, then back off a hair” trick. When a Mackie mixer clip light comes on, you really are about to clip. We worked and slaved to come up with a better system, one that provides low noise and high headroom.

Adjusting input levels (Chs. 1–6 only)

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.

Owner’s Manual

Other Nuggets of Wisdom

For optimum sonic performance, the channel faders and MAIN MIX faders should be set near the “U” (unity gain) markings.

Always turn the MAIN MIX and CONTROL ROOM/ SUBMIX faders down before making connections to and from your 1402-VLZ3.

If you shut down your equipment, turn off your ampliﬁer ﬁrst. When powering up, turn on your ampliﬁer last.

Save the shipping box! You may need it someday.

Instant Mixing

Here’s how to get going right away, assuming you have a microphone and a keyboard:

1. Plug your microphone into channel 1’s MIC input.

2. Turn on the 1402-VLZ3.

3. Perform the Level-Setting Procedure.

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.

The following steps must be performed one channel at

a time:

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.

5. Engage the AFL/PFL switch in the master sec tion. A green LEVEL SET light will turn on.

6. Play something into the selected input. This could be an instrument, a singing or speaking voice, or a line input such as a CD player or tape recorder output. Be sure that the volume of the input is the same as it would be during normal use. If it isn’t, you may have to readjust these levels during the middle of the set.

7. Adjust the channel’s GAIN control so that the display on the LED meters stays around “0” and never goes higher than “+7.”

8. If you apply some EQ, repeat step 7.

9. Disengage that channel’s SOLO switch.

10. Repeat for channels 1 through 6.

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!

Please write your serial number here for future reference (i.e., insurance claims, tech support, return authorization, make dad proud, etc.)

Purchased at:

Date of purchase:

Owner’s Manual

Introduction

Thank you for choosing a Mackie professional compact mixer. The 1402-VLZ3 is equipped with our precision-engineered XDRTM Extended Dynamic Range premium studio-grade mic preamp.

Now that you have your 1402-VLZ3, ﬁnd out how to get

1402-VLZ3

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 “geographi cally;” 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 explana tions 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 nd: FAQs (Frequently Asked Questions), manuals, and addendums.

• Email us at: techmail@mackie.com.

• Telephone 1-800-898-311 to speak with one of our splendid technical support representatives, (Monday through Friday, normal business hours, PST).

140-VLZ3

Contents

Owner’s Manual

IMPORTANT SAFETY INSTRUCTIONS ........................ 2

INTRODUCTION ...................................................... 4

HOOKUP DIAGRAMS............................................... 6

PATCHBAY DESCRIPTION ......................................... 8

1. MIC INPUTS (CHANNELS 1–6) ................... 8

PHANTOM POWER ................................... 8

2. LINE INPUTS (CHANNELS 1–6) .................. 8

3. LOW CUT (CHANNELS 1–6) ....................... 9

4. GAIN (CHANNELS 1–6) ............................ 9

5. STEREO LINE INPUTS ................................ 9

6. +4/–10 LEVEL (STEREO CHANNELS ONLY) 9

EFFECTS: SERIAL OR PARALLEL? ................ 9

7. STEREO RETURNS ................................... 10

8. AUX SEND 1&2 ...................................... 10

9. TAPE INPUT ........................................... 10

10. TAPE OUTPUT ........................................ 10

11. 1⁄4" MAIN OUTS ..................................... 10

12. PHONES ................................................ 11

13. XLR MAIN OUTS ................................... 11

14. XLR MAIN OUTPUT LEVEL SWITCH .......... 11

15. CONTROL ROOM .................................... 11

16. ALT 3–4 OUTPUT ................................... 11

17. CHANNEL INSERT (CHANNELS 1–6 ) ........ 11

18. POWER CONNECTION ............................. 12

19. FUSE ...................................................... 12

20. VOLTAGE SELECTOR ................................ 12

21. POWER SWITCH ..................................... 12

22. PHANTOM SWITCH ................................ 12

CHANNEL STRIP DESCRIPTION ............................... 13

“U” LIKE UNITY GAIN ............................ 13

23. CHANNEL FADER ..................................... 13

24. SOLO ..................................................... 13

25. MUTE/ALT 3–4 ...................................... 13

26. PAN ........................................................ 14

CONSTANT LOUDNESS ! ! ! ...................... 14

3-BAND EQ ............................................ 14

27. LOW EQ ................................................. 14

28. MID EQ .................................................. 14

29. HI EQ ..................................................... 15

MODERATION DURING EQ ...................... 15

31. AUX 1 AND 30. AUX 2 SEND ................... 15

OUTPUT SECTION .................................................. 16

32. MAIN MIX FADERS ................................... 16

33. CONTROL ROOM SOURCE MATRIX ............ 16

34. CONTROL ROOM/SUBMIX ....................... 16

35. SOLO MODE (AFL/PFL) .......................... 17

36. RUDE SOLO LIGHT .................................. 17

37. ASSIGN TO MAIN MIX ............................ 17

38. METERS – MANY DISPLAYS IN ONE! ....... 17

A WORD ABOUT AUX ............................. 18

39. PRE/POST (AUX 1) ............................... 18

40. AUX 1 MASTER ...................................... 18

41. STEREO RETURNS ................................... 18

42. RETURN TO AUX 1 ................................. 19

JACK NORMALLING ................................ 19

APPENDIX A: SERVICE INFORMATION .................... 20

APPENDIX B: CONNECTIONS.................................. 21

APPENDIX C: TECHNICAL INFORMATION ................ 24

SPECIFICATIONS ............................................. 24

BLOCK DIAGRAM ............................................ 25

TRACK SHEET.................................................. 26

1402-VLZ3 LIMITED WARRANTY ........................... 27

Owner’s Manual



HOOKUP DIAGRAMS

Powered

Studio Monitors

Keyboard or other line level input

Stereo Guitar Effects

Out

(play)

(record)

Drum Machine

Stereo Compressor

Mono Compressor

Vocal Mics

Multi Effect Processor

Digital Delay

Powered

Studio Monitors

for Studio

Headphone Distribution Amp

Headphones

for Studio

Direct Boxes

Out

CHANNEL INSERTSSTEREO RETURNS

ALT 3/4

OUT

PHONES

OUT

INPUTS

MONO

AUX

SEND

CHANNEL

IN-TAPE-OUT

MAIN

OUT

CNTRL ROOM

OUTPUTS

MAIN

OUT

1402-VLZ3

140-VLZ3

Recording System

Out

(play)

(record)

Stereo Compressor

Mono Compressor

Multi Effect Processor

Mono Power Amplifier

Stage Monitors

Stereo

Mono EQ

Headphones

Keyboard or other line level input

Stereo Guitar Effects

Drum Machine

Vocal Mics

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.

SRM450

Powered Speaker

SWA1501

Powered

Subwoofer

Direct Boxes

CHANNEL INSERTSSTEREO RETURNS

ALT 3/4

OUT

PHONES

OUT

INPUTS

MONO

AUX

SEND

CHANNEL

IN-TAPE-OUT

MAIN

OUT

CNTRL ROOM

OUTPUTS

MAIN

OUT

Out

SRM450 Powered Speaker

SWA1501 Powered Subwoofer

Owner’s Manual

Live Stereo PA System

Owner’s Manual



Patchbay Description

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

MIC

BAL OR

UNBAL

BAL OR

UNBAL

BAL

UNBAL

BAL OR

UNBAL

BAL

UNBAL

BAL OR

UNBAL

AUX SEND

RIGHT

LEFT/MONO

ALL BAL/UNBAL

BAL/UNBAL

LINE IN 1 LINE IN 2

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LINE IN 3

LOW CUT

75 Hz

18dB/OCT

LINE IN 4

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LINE IN 5 LINE IN 6

LOW CUT

75 Hz

18dB/OCT

GAINGAIN GAIN GAIN GAIN GAIN

LINE IN 7-8

LINE IN 9-10

LINE IN 11-12

LINE IN 13-14

MONO

BAL

UNBAL

BAL OR

UNBAL

BAL OR

UNBAL

BAL OR

UNBAL

TAPE

INPUT

TAPE

OUTPUT

MAIN OUT

LEVELLEVELLEVEL

LEVEL +4

MIC

1402-VLZ3

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 re jecting 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 lnstrument-level signals from your guitar, into balanced mic-level outputs, and provide signal and impedance matching. They also let you send your gifted guitar renditions over long cables or audio snakes, with minimum interference and high-frequency signal loss. Ask your dealer or guitar maker about their recommendations for a good DI box.

PHANTOM POWER

Most modern professional condenser mics are equipped for Phantom Power, which lets the mixer send low-current DC voltage to the mic’s electronics

through the same wires that carry audio. (Semi-pro condenser mics often have batteries to accomplish the same thing.) “Phantom” owes its name to an ability to

3 4

140-VLZ3

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

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.

input jacks with PHANTOM power on unless you know for certain it is safe to do so.

3. LOW CUT (Channels 1–6)

20Hz100

10kHz20k

–15

–10

–5

+10

+15

20Hz100

10kHz20k

–15

–10

–5

+10

+15

Dry Signal

Processed

Signal

Insert

Send

Insert

Return

Signal Processor

(e.g., Compressor)

Dry Signal

Processed

Signal

Insert

Send

Insert

Return

Dry Signal(s)

Aux

Send

Aux

Return

Wet Signal

Channel Path

Mix

Stage

Output Section

Processed

Signal

Signal Processor

(e.g., Compressor)

Signal Processor

(e.g., Reverb)

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

0U60

+15dB -45dB

MIC

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

BAL

UNBAL

RIGHT

LEFT/

MONO

LINE IN 1 LINE IN 2

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LINE IN 3

LOW CUT

75 Hz

18dB/OCT

LINE IN 4

LOW CUT

75 Hz

18dB/OCT

LOW CUT

75 Hz

18dB/OCT

LINE IN 5 LINE IN 6

LOW CUT

75 Hz

18dB/OCT

GAINGAIN GAIN GAIN GAIN GAIN

LINE IN 7-8

MONO

BAL

UNBAL

LEVEL +4

MIC

Each LOW CUT switch, often referred to as a High Pass Filter (all depends on how you look at it), cuts bass frequencies below 75 Hz at a rate of 18 dB per octave.

We recommend that you use LOW CUT on every microphone application except kick drum, bass guitar, or bassy synth patches. These aside, there isn’t much down there that you want to hear, and ﬁltering it out makes the low stuff you do want much more crisp and tasty. Not only that, but LOW CUT can help reduce the possibility of feedback in live situations and it helps to conserve the ampliﬁer power.

5. STEREO LINE INPUTS

Owner’s Manual

(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.

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 equal ization 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:

Low Cut

4. GAIN (Channels 1–6)

If you haven’t already, please read the Level-Setting Procedure.

GAIN adjusts the input sensitivity of the mic and line inputs connected to channels 1 through 6. This allows signals from the outside world to be adjusted to optimal internal operating levels.

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.

Low Cut with Low EQ

If the signal originates through the XLR jack, there will be 0 dB of gain with the knob fully down, ramping to 60 dB of gain fully up.

Through the 1⁄4" input, there is 15

dB of attenuation fully down and 45 dB

ways 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)

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?

“parallel” around like hacky sacks. Here’s what we mean by them:

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).

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.

When connecting a mono device (just one cord), al-

This switch adjusts the input sensitivity of the line

The next two sections toss the terms “serial” and

“Serial” means that the entire signal is routed through

“Parallel” means that a portion of the signal in the

Owner’s Manual

+ 19 hidden pages